The Godfather Part III (B+ or 3.5/4 stars)
In this 3rd (and final) film in the epic Corleone trilogy, Al Pacino reprises the role of powerful family leader, Michael Corleone. Is 'The Godfather: Part III' (directed, again, by Francis Ford Coppola) as good as Part I & II? Well ... no. How could it be? Those 2 films are 2 of the best of all-time (in my opinion). Having said that, and though it has its faults, Part III is still a powerful, gorgeously mounted melodrama that rounds out the epic story very well. The film opens in 1979 NY, some 20 yrs. after Michael (Pacino) gave the order to have his Fredo killed {Remember that!?}. His children, Mary (Sofia Coppola, the director's daughter) & Anthony (Franc D'Ambrosio) are grown up. Mary is devoted to her 'dad'; but Anthony is wary of him. He loves his father, but wants nothing to do with the family 'business'; even though all illegal investments have been stripped away. In other words, the Corleone's seem to be 'in the clear'.
As with the other 2 films, this one began with a large family get-together. This time: for the presentation to Michael of the Order of St. Sebastian - the highest honor that the Catholic Church bestows someone not directly affiliated with religion. Michael is not so free of his former organized crime allies, however. When he makes a $600 mill play for an international conglomerate (Immobiliare), they want a portion; seeing an opportunity to launder their $$. But Michael's refusal at a meeting of 'Dons' puts him in very bad light (and bloody retribution ensues). So the assumed next Don Corleone, Sonny Corleone's son, Vincent (Andy Garcia), is frothing at the mouth for that power. Vincent harbors the same violence & ruthless quality that his grandfather once had. And as the Immobiliare stakes climb ... Michael recognizes that he lacks the strength & youth needed to lead; hence, passing the torch to Vincent. But tragedy of epic proportions ensues.
It's been 16 yrs. since 'Part II' left theaters. Most movie-goers have been anticipating a 'Part III'. And though I highly enjoyed this film's offerings, it isn't in the same league as the previous 2 films. In fact, many people are highly disappointed by the outcome, here. I won't be one of those complainers, though. Now, if I were to nitpick, I would start by saying this: the film covers little 'new' territory, narratively. Michael Corleone is older, a few of the beloved characters don't show up onscreen (or have died), Kay is still around, the kids are grown up, there are still 'Dons', there are still bloody deaths, & nephew Vincent takes over the reins from Michael. The conclusion of this film is both fitting & wonderfully orchestrated. And the last shot we see onscreen couldn't be more perfect in closing the trilogy out. But on the whole, the film takes nearly 3 hours to not add much else to the saga. I enjoyed what I got, but craved more complexity.
One of the pivotal roles this time around is that of Mary, played by Sofia Coppola. Physically, she looks the part, but some of her line deliveries come across inauthentically. Diane Keaton is back, and as usual, gives a stellar, relatable performance (especially in one-on-one scenes with Pacino. Wow.). Talia Shire is back; though, she's not as prevalent as in films past. Some critics argue that the character of Vincent (superbly played by fiery Untouchables actor, Andy Garcia) could have had more depth. All we know/see is that his actions spark a new wave of mob violence that Michael was trying to get his family out of.
But the focus is STILL on Michael (what he's doing, what he's saying, why he's making certain decisions, etc.). Al Pacino is - once again - BRILLIANT as the now weary, conflicted, fading has-been Don. You see that Michael wants to do 'good business' & rid his family from crime. But he knows that he is paying for all his bad choices in his life. His memories haunt him. And with the looks on his face, & the way he talks (thick & scratchy) ... Pacino nails every inflection for us. For Michael, his family means everything (more than $$ or power). So when something critical occurs near the end of the film, you almost feel his reaction.
On the technical front, 'Part III' thrives. Francis Ford Coppola's direction has its usual 'Godfather' flair. The movie is lushly photographed by cinematographer Gordon Willis. Every frame drips with prestige, ugliness, & beauty. The dark interiors, beautiful exteriors, & moody 1970's Italian-styled art direction is great to look at. The musical score is as sweeping & memorable as ever. And though some would argue that the editing is a weak point (the film is too long & languorously paced) ... there are individual scenes & sequences that are so superbly put-together, that the 'editing is weak' argument kind of goes out the window. There are moments of greatness. And in fact, the slow burn, yet stirring final 30 minutes, with its interweaving plotlines, is masterfully executed.
On the whole, I am both happy & sad that this trilogy is over; but mostly happy. Taken as one enormous family epic, you can't get much better than Coppola, Mario Puzo (the author/writer), or the wildly charismatic Corleones. I have a deep feeling for these films & the characters. 'Part III' is audacious, solid as a rock, emotionally-rich, brilliantly acted, & entertaining. It doesn't reach the heights (across the board) of its predecessors. Some of the dramatic focus wanes, here & there. And segments of the film DO lumber in the middle. But the unflappable vision of corruption in the Italian underworld will never be portrayed onscreen with as much scope, energy, verve, love, hate, & intensity as with this entire series. Bravo.
As with the other 2 films, this one began with a large family get-together. This time: for the presentation to Michael of the Order of St. Sebastian - the highest honor that the Catholic Church bestows someone not directly affiliated with religion. Michael is not so free of his former organized crime allies, however. When he makes a $600 mill play for an international conglomerate (Immobiliare), they want a portion; seeing an opportunity to launder their $$. But Michael's refusal at a meeting of 'Dons' puts him in very bad light (and bloody retribution ensues). So the assumed next Don Corleone, Sonny Corleone's son, Vincent (Andy Garcia), is frothing at the mouth for that power. Vincent harbors the same violence & ruthless quality that his grandfather once had. And as the Immobiliare stakes climb ... Michael recognizes that he lacks the strength & youth needed to lead; hence, passing the torch to Vincent. But tragedy of epic proportions ensues.
It's been 16 yrs. since 'Part II' left theaters. Most movie-goers have been anticipating a 'Part III'. And though I highly enjoyed this film's offerings, it isn't in the same league as the previous 2 films. In fact, many people are highly disappointed by the outcome, here. I won't be one of those complainers, though. Now, if I were to nitpick, I would start by saying this: the film covers little 'new' territory, narratively. Michael Corleone is older, a few of the beloved characters don't show up onscreen (or have died), Kay is still around, the kids are grown up, there are still 'Dons', there are still bloody deaths, & nephew Vincent takes over the reins from Michael. The conclusion of this film is both fitting & wonderfully orchestrated. And the last shot we see onscreen couldn't be more perfect in closing the trilogy out. But on the whole, the film takes nearly 3 hours to not add much else to the saga. I enjoyed what I got, but craved more complexity.
One of the pivotal roles this time around is that of Mary, played by Sofia Coppola. Physically, she looks the part, but some of her line deliveries come across inauthentically. Diane Keaton is back, and as usual, gives a stellar, relatable performance (especially in one-on-one scenes with Pacino. Wow.). Talia Shire is back; though, she's not as prevalent as in films past. Some critics argue that the character of Vincent (superbly played by fiery Untouchables actor, Andy Garcia) could have had more depth. All we know/see is that his actions spark a new wave of mob violence that Michael was trying to get his family out of.
But the focus is STILL on Michael (what he's doing, what he's saying, why he's making certain decisions, etc.). Al Pacino is - once again - BRILLIANT as the now weary, conflicted, fading has-been Don. You see that Michael wants to do 'good business' & rid his family from crime. But he knows that he is paying for all his bad choices in his life. His memories haunt him. And with the looks on his face, & the way he talks (thick & scratchy) ... Pacino nails every inflection for us. For Michael, his family means everything (more than $$ or power). So when something critical occurs near the end of the film, you almost feel his reaction.
On the technical front, 'Part III' thrives. Francis Ford Coppola's direction has its usual 'Godfather' flair. The movie is lushly photographed by cinematographer Gordon Willis. Every frame drips with prestige, ugliness, & beauty. The dark interiors, beautiful exteriors, & moody 1970's Italian-styled art direction is great to look at. The musical score is as sweeping & memorable as ever. And though some would argue that the editing is a weak point (the film is too long & languorously paced) ... there are individual scenes & sequences that are so superbly put-together, that the 'editing is weak' argument kind of goes out the window. There are moments of greatness. And in fact, the slow burn, yet stirring final 30 minutes, with its interweaving plotlines, is masterfully executed.
On the whole, I am both happy & sad that this trilogy is over; but mostly happy. Taken as one enormous family epic, you can't get much better than Coppola, Mario Puzo (the author/writer), or the wildly charismatic Corleones. I have a deep feeling for these films & the characters. 'Part III' is audacious, solid as a rock, emotionally-rich, brilliantly acted, & entertaining. It doesn't reach the heights (across the board) of its predecessors. Some of the dramatic focus wanes, here & there. And segments of the film DO lumber in the middle. But the unflappable vision of corruption in the Italian underworld will never be portrayed onscreen with as much scope, energy, verve, love, hate, & intensity as with this entire series. Bravo.