
The Godfather: Part II
Coppola did what almost nobody manages, and made a sequel with a real claim to surpassing the original: two eras of one family run side by side, and the colder one wins.

Coppola did what almost nobody manages, and made a sequel with a real claim to surpassing the original: two eras of one family run side by side, and the colder one wins.

Screenwriters still take this one apart scene by scene to see how it works: Towne and Polanski built a mystery about stolen water that ends without a shred of mercy.

Robert Moses was never elected to anything and remade New York for forty years, throwing up bridges and expressways and flattening the neighborhoods in their way. Caro shows exactly how it was done.

Marley credited it to Tata Ford, whose Trenchtown soup kitchen the royalties kept running; the title means woman, don't cry.

An answer record to Neil Young's "Southern Man," riding Ed King's riff and a name-check for the Muscle Shoals Swampers.

Mitchell hired a working jazz band to back her and made the best-selling record of her life without simplifying a single thing.

Written years before Watergate and released at its climax, it looked like prophecy: a surveillance expert starts hearing something terrible inside his own recording, and his paranoia does the rest.

Brooks has called it his best film and he shot it using the original 1931 laboratory equipment: black and white, played completely straight, and funnier for the discipline.

Alan Parsons taped antique-shop clocks as a quadraphonic test; Mason's rototoms follow, and the alarms still land like panic.

The Meters on rhythm at Sea-Saint, Toussaint producing, and Patti LaBelle singing a French hook she did not understand.

Cassavetes mortgaged his house to finance it, and Gena Rowlands gives the most exposed performance in American film: a marriage where love and damage cannot be separated.
The only Zen you find on the tops of mountains is the Zen you bring up there.

Brooks spent years saying it could not be made today and has since changed his mind: a Black sheriff arrives in a frontier town built on racism, and everybody gets hit.

Seventeen days on a motorcycle carry a father and son from Minnesota to California while he works out what Quality means and recovers the man he was before electroshock erased him.

Pulled out of retirement, George Smiley hunts a Soviet mole at the top of British intelligence, working from old files and older grudges. Le Carré makes treason a matter of friendship and marriage.

Woodward and Bernstein worked doorsteps, phone books, and a source who met Woodward in a parking garage, tracing campaign money into the White House. Journalism has measured itself against this reporting ever since.

Baptism imagery over Willie Mitchell's Memphis groove, and Hi Records never bothered to release Green's version as a single.

Her only American top ten hit, cut with Tom Scott's L.A. Express as she swung folk toward jazz.