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Eighteen years after the first screenings of THE GODFATHER, the long-awaited third and final chapter reached theaters. That it proved unable to fulfill expectations was a predictable--if somewhat disheartening--result, given the sixteen year buildup. THE GODFATHER PART III is a good movie, with moments of rare power, but it is not a great one--a reason why many fans of the series have voiced their disappointment.
Oscar nominations for this film were probably based more on THE GODFATHER name and reputation than on the particular merits of this production. PART III became the first GODFATHER not to take best picture and, despite a deserving performance, Al Pacino's efforts were not acknowledged. The lack of awards enthusiasm perhaps reflected a general opinion.
The story opens in 1979 New York, some twenty years after Michael Corleone (Pacino) gave the order to have his older brother killed. His children Mary (Sofia Coppola) and Anthony (Franc D'Ambrosio) are now grown. Mary is devoted to her father; Anthony is more wary. He loves Michael, but wants nothing to do with "the business", even though all illegal investments have been divested. The Corleone family is legitimate.
As with the other two movies, this one begins with a family gathering. The occasion is the presentation to Michael of the Order of St. Sebastian--the highest honor the Catholic Church can bestow upon a layman. For a Corleone to receive it is the ultimate mark of respectability.
Michael is not so easily free of his former underworld allies, however. When he makes a $600 million play for the international conglomerate Immobiliare, they want a piece of the cake, seeing an opportunity to launder their money. Michael's refusal at a meeting of dons stings more than a few of his old friends, and brings down a bloody retribution.
The next Don Corleone--Vincent Mancini (Andy Garcia), Sonny Corleone's boy--is awaiting his opportunity. He possesses a ruthlessness and taste for violence that Michael has long since lost, and as the Immobiliare stakes escalate, the old head of the family recognizes the need for youth and strength. The passing of the baton, however, carries with it a tragic price.
One of the most obvious problems with THE GODFATHER PART III is that it covers little new territory. The plot is highly derivative of the original. This time, Michael fills Vito's role, and Vincent stands in for Michael. This method of too-obvious parallelism might have been more effective had Vincent's character been better developed. That isn't the case, however, because Michael is still the focal point.
As always, Pacino is a delight to watch. The third time around, he brings a mournful weariness to Michael Corleone. This is a man who has paid for all the wrong choices. Memories haunt him like ghosts that can never be exorcised. The emotional toll is shown in the stoop of his shoulders and the thickness of his voice.
Family, as has ever been the case, is crucial to Michael. His children are his reason for living. In his words, "The only wealth in this world is children. More than all the money and power on Earth, [they] are my treasure." He says to Mary that he would burn in hell to keep her safe. It is a prophetic statement.
Robert Duvall is missed. It's impossible not to feel the vacuum created by his absence. George Hamilton's B. J. Barrison is a one- dimensional necessity of plot, not a "real" character. At least the decision was made not to replicate Tom Hagen in Barrison. Hamilton is given little more to do than stand in the background and speak a few lines.
Another unfortunate casting decision was the choice of Sofia (daughter of Francis) Coppola as Mary (Winona Ryder, the director's preference, was prevented by fatigue from appearing). Coppola is pleasant enough to look at, but her range is limited, and that lack of ability diminishes several emotionally-charged scenes. This is the first GODFATHER to have a major role defined by a poor performance.
One thing that is not inferior, however, is Francis Ford Coppola's directorial flair. The final half-hour, with its interweaving of diverse-yet-related plot lines, is choreographed with the skill of a master. There are moments of THE GODFATHER PART III that shine with the brilliance of the previous two films.
Despite its missteps, THE GODFATHER PART III packs enough of a punch to deserve a place alongside its predecessors. This is no poorly- conceived curiosity. Not only does the film bring Michael Corleone's story to a conclusion, but it remains faithful to the form and style of parts I and II. Taken as one grand epic, with this chapter included, the GODFATHER movies represent one of the most solid, emotionally-rich tales ever committed to film.
By : James Berardinelli
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rec.art.movies.reviews newsgroup
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Francis Ford Coppola knew that if a third installment in his 'Godfather' series was going to be made, he would have to offer audiences and critics alike a new perspective. His story of power within an organized crime family had propelled 'The Godfather' (1972) and 'The Godfather Part II' (1974) to the top of many "all time greatest films" lists. Those who expected 'The Godfather Part III' to be as good as those films were, frankly, fools. Coppola's intention in the third film was clearly aimed at offering a story of redemption. Sixteen years had passed and 1990 brought a whole new decade of film making that so far by 1998, would look a great deal better than the 80's.
Returning for the third time would be Al Pacino, referred to by Coppola as America's greatest actor. Pacino would reprise his role of Michael Corleone, a man who destroyed his life by bowing to the trappings of wealth through ill gotten means which he inherited from his father. Michael, as a more ruthless ruler and killer than his father had been, is now looking to redeem his immortal soul by going straight. All illegitimate investments made by the Corleone family have now been sold off and their money has been invested into real estate.
As part two left off, it was 1959. As "The Godfather Part III' opens, we see the decaying former Corleone estate in Lake Tahoe, Nevada. It is now deserted. Michael begins narrating a letter he is writing to his children, asking them to come to a religious ceremony where he will receive a special award by his church for his charitable contributions. As the letter is being narrated, the film shifts to a shot of New York City. It is 1979. In the church, as Michael is receiving his honour, he has a flashback to the murder of his brother, Fredo. A murder which Michael engineered and gave the go ahead to. As fans of the series know, Fredo betrayed Michael, which led to this ghastly fate. As Michael grew older, he regretted this action and had been haunted by it ever since. Fredo's murder and Michael as the perpetrator of it, would be the central theme of the film and the most admirable thing about 'The Godfather III' is the under lying Shakespearean overtones express. Not just in the last scenario I described, but throughout the film as many tragedies are showcased.
Also returning for a third time would be Diane Keaton as Michael's former wife Kay and Talia Shire as Michael's loyal sister Connie. Some other minor characters reprise their roles and it's fun to watch for them and say "I remember that guy. Is he still around?"
A vibrant new character named Vincent Mancini (Andy Garcia) would be introduced to audiences as Michael's illegitimate nephew. Vincent is the son of Michael's brother Sonny, portrayed by James Caan in the first film and seen in a cameo in the second. Garcia would be the only cast member nominated for an Oscar. He was nominated for Best Supporting Actor and the Academy's failure to nominate Pacino as Best Actor was a travesty as Pacino brought a fresh angle to his character with total believability. Pacino got nominated for as Oscar the same year he made 'The Godfather Part III'. He was nominated as Best Supporting Actor (against Garcia) for 'Dick Tracy' as he played an over the top villain under heavy make-up.
Michael takes Vincent under his wing and shares his experiences in what is now the legitimate family business. Vincent's desire for a life of crime is driven by his greater desire to destroy a vile and under handed thug named Joey Zaza, played very well by Joe Mantegna. Zaza controls all the things the Corleone family used to be involved in. Drugs, gambling, prostitution and other vices are Zaza's specialty and he aims to kill Michael later in the film with help from some powerful forces who are also out to swindle and destroy Michael. Michael is drawn back in to a life of crime by sheer destiny. A destiny set in motion when Michael was a young man, not thinking that once you're in, it's for life.
Pivotal to the film's outcome is the character of Mary Corleone, Michael's daughter. As portrayed by Sofia Coppola (Francis' daughter), the character is nearly ruined. Her acting is just downright bad and if her part had been any bigger, the film would have failed miserably. Coppola had to replace Winona Ryder who had started in the role of Mary but had to withdraw after suffering from exhaustion by coming directly off a couple of other films she worked on. Julia Roberts and Madonna had also been considered at one point for the role of Mary. Michael's other grown-up offspring, Anthony (Franc D'Ambrosio) is a complete throw away as his character is never examined or given any real focus.
Other notable actors in the film are George Hamilton as Michael's attorney and Eli Wallach as an old friend of the Corleone's who double crosses Michael for his own selfish gains. Robert Duvall, who played Tom Hagen, Michael's step brother and family attorney in the first two films, didn't appear in part three, reportedly because they wouldn't pay him enough.
Technically, the film moves well. Gordon Willis' 'prince of darkness' photography has an uncanny depth of focus and sizzles with many darkened indoor scenes and one scene involving a helicopter attack upon a group of crime bosses through the skylight of a hotel banquet room, is brilliantly photographed.
'The Godfather Part III' is an overall excellent film that offers a new story while it combines memories of the past through its reoccurring characters and Andy Garcia's performance of what Michael was in the second film. Part three was nominated for seven Oscars including Best Picture and Best Director for Francis Ford Coppola. Coppola wrote the script with Mario Puzo and they failed to receive an Oscar nomination for their writing this time around. The two of them won Oscars for their screenplays of the first two films. There is no need or desire on my part for a fourth film. Coppola didn't get lucky by having his third film accepted by critics, audiences and his peers. He constructed the film sharply and didn't repeat himself. He re-invented himself.
By : Walter Frith
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