by Steve Habrat
The Godfather Part III is widely regarded as the weakest installment in The Godfather trilogy. Many aim their blame at the performance from Sofia Coppola, director Francis Ford Coppola’s daughter, the fact that the film doesn’t operate as a stand-alone piece, or at the simple fact that the film doesn’t provide a satisfying wrap up to the gangster epic that began in 1972. Many of the major themes are still in tact (The American Dream, family loyalty, corruption, etc.) but I think the film just simply doesn’t tell a story that is as engaging as 1972’s The Godfather or 1974’s The Godfather Part II. In my humble opinion, I think things were properly wrapped up in The Godfather Part II, the film ending with Michael’s vicious hold on the family deteriorating into tragedy. While I don’t think The Godfather Part III holds up to the greatness of the first two films, I still believe that the film is good on its own terms, which I know is odd because the final installment leans so heavily on the events of The Godfather and The Godfather Part II. Coppola and returning screenwriter Mario Puzo make a film that thinks even bigger than the first two films, stretching the events out and getting a little bit too implausible for its own good.
The Godfather Part III picks up in 1979, where a graying Michael Corleone (Played by Al Pacino) is being named a Commander of the Order of St. Sebastian at St. Patrick’s Old Cathedral in New York City. At a celebration after the event, Michael is reunited with his ex-wife Kay (Played by Diane Keaton), who informs Michael that his son Anthony (Played by Franc D’Ambrosio) wants to drop out of law school and pursue a career as an opera singer. Michael is upset by the decision and wishes that he would either remain in law school or join the family business. Michael, who is still desperately trying to make the family business legitimate, is still haunted by the death of his brother Fredo. Michael also finds himself confronted by his late brother Sonny’s illegitimate son Vincent Mancini (Played by Andy Garcia), who wants in on the family business and wants Michael to settle a spat between him and Joey Zasa (Played by Joe Mantegna), who now handles the Corleone family’s criminal interests. Michael has been busying himself by buying up enough stock in International Immobiliare, which is an international real estate holding company. Michael becomes the biggest single shareholder and then looks to buy the Vatican’s 25% interest in the company. As the deal continues, the spat between Joey Zasa and Vincent becomes more and more deadly, pulling Michael back into the criminal underworld. After a brutal assassination attempt, Michael thinks that there may be trouble to be found in the Immobiliare deal.
The Godfather Part III has perhaps the most convoluted plotline of all the three films, which makes some stretches of the film slightly boring. This is disappointing because there wasn’t a slow moment to be found in the previous two entries. It is interesting to see how some of the remaining characters have progressed, mostly Michael’s sister Connie (Played by Talia Shire) and Kay, who has mixed emotions about Michael’s behavior and his ruthless control on the family. The biggest change can be found in Michael, who appears to have lost some of his coldness and embraced a warmer, generous heart. There are still brief flashes of the Michael in The Godfather Part II, but he is nowhere near as menacing as he once was. Coppola also removes some of the ominous feel, this film a bit brighter than the other installments. What has remained in tact is the epic reach of the film, jetting all over from New York City to Sicily and everywhere in between. The film also establishes a creepy love story between Vincent and Michael’s daughter Mary (Played by Sofia Coppola), who are first cousins but apparently are not bothered by this at all. The love story is my least favorite aspect of The Godfather Part III, at once completely unnecessary and incredibly out of place for this series.
Like the first two films, Coppola and Puzo pile on tons of characters that we need to pay attention to. The film introduces us to the vile Joey Zasa, who has turned Little Italy into a drug filled slum. We also meet Don Altobello (Played by Eli Wallach), a seemingly reasonable old man who has a dark side, Michael’s bodyguard Al Neri (Played by Richard Bright), Corleone family friend Don Tommasino (Played by Vittorio Duse), Archbishop Gilday (Played by Donal Donnelly), and powerful Italian political figure Don Licio Lucchesi (Played by Enzo Robutti), to name a few of the new characters. It times, it is almost impossible to keep track of all of them, but you will barely manage. We are really supposed to care about hotheaded Vincent, who is quickly rising to power within the Corleone family. While Garcia plays him with confident determination, at times, I really didn’t care much for his character and would have rather just stuck with Michael, who is facing deteriorating health and wishes to overcome his inner demons, which consistently plague him.
The Godfather Part III explores even further family loyalty, corruption, and the American Dream. With this installment, we learn that Michael has all the power and wealth he could ever dream of, but he still finds himself alienated from a good majority of his family. Apparently, Connie has come around and stands firmly beside her brother, at times even more vicious than he is. His son, Anthony, wishes to keep Michael and the family business as far away from him so he can and seek out an honest living. Yet The Godfather Part III firmly states that corruption is found in big business and yes, even the Vatican. This criminal underworld is like a parasite that has infected even the places that should never have been infected. Michael still voices that he wishes to make the family business legitimate and wash his hands of the mafia but this is easier said than done. Vincent also rejects trying to make an honest man of himself, firmly rejecting the idea all together and instead gleefully descending into the criminal underworld. The downside to the subtext of The Godfather Part III is that it gets a bit ludicrous and looses its subtlety. It is disappointing because this is territory that Puzo and Coppola have covered before and much more effectively at that.
The Godfather Part III is a well-made film and no one can really say otherwise. There are still solid performances to be found, but no one really rises above good and strives for greatness. No one here really challenges what Brando did in the first film and not even Pacino can match the unbearable intensity that he conveyed in Part II. Much has been made of Sofia Coppola’s polarizing performance as Mary but I personally didn’t find her all that bad. I think she is a victim of the subplot that she is thrown into, which is just there to add another layer of tragedy to a story that is already tragic enough. The cinematography is just as beautiful and Coppola can’t resist returning to Sicily to exploit that beautiful countryside and baroque architecture. The film plants here for almost half the runtime but I certainly was not complaining about this aspect. In the end, there is the feeling that all the events that are playing out are vaguely forced and empty, almost like they didn’t need to play out at all. I really liked the scenes with Kay and Michael and their attempts to patch up their relationship but I liked the way things were left in Part II. With the second installment, we knew that Michael was doomed by the suggestions of the final frame and there was really no need for Coppola and Puzo to drag things out further and then put it in bold print and italicize it.
The Godfather Part III is now available on Blu-ray and DVD.
by Steve Habrat
Francis Ford Coppola’s The Godfather Part II could very well be one of the greatest sequels ever made. I hesitate to say the greatest because I still favor the 1972 original slightly more than I do the 1974 follow up. Yet Coppola doesn’t just make a sequel for the sake of making one and getting another paycheck. The Godfather Part II has purpose and it actually enriches the story that was told in the first film. By giving us more of the characters that we only briefly saw in The Godfather and whipping up an absorbing back-story for Vito Corleone, The Godfather Part II actually ends up being more epic in the way it dances from Corleone, Sicily to Lake Tahoe, Nevada all the way to Havana, Cuba. The Godfather Part II turns out to be much darker and moodier than the 1972 original, all the characters barely visible in all the shadows cast in this sordid world of crime. The film also continues to explore loyalty to family and the ugly side of the American Dream, cutting much deeper than they did the first time and turning The Godfather Part II into a sullen tragedy that would have wrapped thing up perfectly.
The Godfather Part II balances two storylines this time around and piles on even more characters that we are supposed to follow. The first storyline is the background of Vito Corleone (Played by Robert DeNiro), how he made it from Sicily to New York and his rise to power in the criminal underworld. The second plotline follows Michael Corleone (Played by Al Pacino), who has fully embraced his role as the uncompromising head of the family business. Michael is looking to move into the gambling industry and has started negotiating business deals with Jewish gangster Hyman Roth (Played by Lee Strasberg). After two hit men try to assassinate Michael in his Lake Tahoe compound, Michael begins to suspect that there is a mole hiding within the family and he is determined to seek him out. Michael leaves his compound and leaves consigliere Tom Hagen (Played by Robert Duvall) to watch over his wife Kay (Played by Diane Keaton) and his two children. Michael then begins his business with Roth even though he is met with protests from Frankie Pentangeli (Played by Michael V. Gazzo), who took over the Corleone family territory in New York after comporegime Peter Clemenza’s death. As the business becomes more and more dangerous, Michael finds that his wife and children are slipping away from him and his family is falling apart.
The Godfather Part II digs deeper into the idea of prosperity and everything that comes along with the American Dream. Coppola and returning screenwriter Mario Puzo suggest that corruption and deceit are everywhere, making the viewer question if there is any honesty in America itself. A side character, Senator Pat Geary (Played by G.D. Spradlin), speaks of his dislike for the Corleone family right to Michael’s face at his son’s First Communion, which takes place near the beginning of the film. He attempts to stand up to Michael but later finds himself bullied into cooperation with the Corleone’s. Coppolla and Puzo portrayed Michael as the most honest member of the Corleone family in the original film but here, Michael has become even more monstrous than we could have ever imagined. His father’s office was shady and ominous, but there were still hints of warmth within it. Michael’s is even darker and downright intimidating, Michael himself barely visible as he sits in an arm chair and listens to his sister Connie (Played by Talia Shire) beg for more money. All the good that Michael possessed has crawled away. We also see Vito embrace a life of crime, fleeing from Sicily to escape the clutches of a ruthless gangster only to find himself back in it in America. At first, Vito starts out trying to make an honest living but that quickly evaporates when he is suddenly thrust into the criminal underworld. He doesn’t put up much of a fight to not get sucked all the way in.
The Godfather Part II does leave the viewer in a crumpled heap by the end of its three-hour plus runtime. The film is a tragedy, a family falling apart from lies, secrets, and neglect. Kay announces that she plans to leave Michael, who slumps in armchairs and stares into space. We question if Michael really even feels anything for Kay or if he only keeps her around to provide him with heirs for the family business. Michael also begins to see his older brother Fredo turn on him, bitter that he has been passed over in the family business and waved off as a fool. The Godfather Part II maintains its tragedy through the tainting of Vito and Michael, both who had promising futures but chose to throw it all away. Further tragic is the way that Michael alienates his family members, intimidating them and pushing them around. He’s a far throw from the soft-spoken war hero that we saw at the beginning of The Godfather.
Both Coppola and Puzo water their characters and then watch them grow in The Godfather Part II. Michael is fully engulfed by the demons he so desperately wanted to bottle up, transforming into a vile piece of humanity every time he walks into frame. While this is Pacino’s show, DeNiro gives a discreetly powerful performance as the young Vito Corleone. What I absolutely love about DeNiro’s performance is that he becomes almost transparent when he studies the ways of the criminals around him. We can see him absorb the knowledge on how to manipulate and con his way to the top. I found it incredible the way that DeNiro allowed us to see the wheels turning. Strap yourself in because Vito has explosive violent rages, ones that come when you least expect them to. I also enjoyed John Cazale as Michael’s older brother Fredo, a hotshot wannabe who puts his foot in his mouth and who is unable to stand up for himself. Fredo is a pathetic soul who has a heart of gold underneath the flashy suits. Diane Keaton is also given more room here to prove herself as Kay. When her rage and disgust with Michael pours out and she reveals a secret that she has kept from Michael, you will simultaneously feel like you’ve been kicked in the stomach and have goosebumps.
The Godfather Part II does run a bit long and the amount of ground that is covered is almost exhausting. The understandable absence of Marlon Brando is what knocks The Godfather Part II down just a peg for me. I still find the film absolutely flawless, from the technical aspects all the way down to the background performers, but I just miss his character so much. DeNiro does pad the blow of his absence and he gives one of the finest performances of his career. I do favor this installment’s darker tone over the originals and the original is a pretty gloomy film to begin with. Given the length, Coppola does divvy up the action expertly and never allows the film sag, making the film incredibly consistent. Much like The Godfather, The Godfather Part II is an undisputed classic in the cinema realm, earning just as much respect as the original, if not more. Many consider this to be even better than the original and I can understand why, with the plot thickening and its emotionally draining climax. Heavier than the original, with intensity and pessimism to spare, The Godfather Part II is a spectacular follow up, a true testament to epic filmmaking and storytelling.
The Godfather Part II is now available on Blu-ray and DVD.
by Steve Habrat
One theme that often appears in the films of Woody Allen is themes or use of the supernatural or fantasy. In multiple films, we get to see how he uses things ranging from extraterrestrials, ghosts, death, or magic. The interesting aspect is that he applies it to his very personal films, like Stardust Memories or he uses it in his funnier films like Love and Death. Allen has even gone as far as to play a magician in one of his more recent films. Through his use of these supernatural elements, he takes subjects that are very serious and with the use of the supernatural, he allows his audience to take the subjects in a lighter way. I think this is an interesting aspect to the work of Allen and how he applies the use of the supernatural. Through the use of fantasy, he brings almost a childlike awe to some of his films. He also makes some very important statements on important topics like death and even his own career.
During the teenage years of his life, Woody Allen did not seem to be particularly interested in the intellectual elements that fill his career and work today. Throughout this period, Allen spent long hours in his room practicing magic tricks. It was around this time as well that he started submitting jokes and he got himself noticed (Woody Allen Biography). In Stig Bjorkman’s book Woody Allen on Woody Allen, Allen states “It has been said, that if I have any one big theme in my movies, it’s got to do with the difference between reality and fantasy. It comes up very frequently in my films. I think what it boils down to, really, is that I hate reality. And, you know, unfortunately it’s the only place where we can get a good steak dinner. I think it comes from my childhood, where I constantly escaped into cinema” (Bjorkman, 50). When you analyze what Allen’s films tend to be about, which is love, death and relationships, we can see that he is interested in making intellectually stimulating films that are not just special effects and mindless entertainment. It is interesting that someone who says that they hate reality would be interested in these specific topics. In many of his films including Play It Again, Sam, made in 1973, Love and Death, made in 1975, Stardust Memories, made in 1980, The Purple Rose of Cairo, made in 1985, Alice, made in 1990, The Curse of The Jade Scorpion, made in 2001, and Scoop, made in 2006, all have fantasy elements that I believe to be rather personal to Allen. When you break down what each of these films is trying to convey with its fantasy elements, it becomes much clearer.
Starting with Play it Again, Sam, Allen plays a film critic who has just gotten a divorce and is trying to move forward and find a new relationship with the help of his friends. Throughout the film, Allen goes into conversations and gets relationship advice from the apparition of Humphrey Bogart. What is interesting about the set up is the fact that Humphrey Bogart is in character as Rick Blaine, from Casablanca. When we go back and look at the quote from Allen when he says “I think it comes from my childhood, where I constantly escaped into cinema”, it becomes more obvious that this role that he has taken on may be more personal than one would imagine. He uses the Bograt apparition to try to find an answer to his relationship problems. Allen’s character begins living through the film to help him cope with the relationship that he has been involved in with the Diane Keaton character. The film even ends similarly to Casablanca, as he lets the love interest go, just as Rick Blaine does with the character Ingrid Bergman plays, Ilsa Lund.
As you continue to trace the development of Allen’s use of fantasy to escape reality, we arrive at his 1975 film, Love and Death. This time around, Allen does not use fantasy to escape relationship problems but rather to escape ideas of death. The film follows a cowardly Russian man, Boris, played by Allen, who gets enlisted into the Russian army after Napoleon’s troops try to invade. Soon Boris and his wife, Sonja, played by Diane Keaton, devise a plan to assassinate Napoleon. As the finale plays out, we realize that Boris is going to die. Throughout the film, Boris sees the apparition of death claiming souls. Death looks like the Grim Reaper only rather than wearing a black cloak, he wears an all white cloak. At the end of the film, the white-cloaked Death comes to claim Boris and as the film ends, we see Boris and Death dancing with each other as Death takes Boris’s soul to the afterlife. When one think of death, it is often a very serious topic and we would hardly believe that Death would appear cloaked in white. Once again, Allen tackles a very serious subject with fantasy and also with quite a bit of slapstick comedy in the film. He seems to address the serious topic of death by showing us a fantasy apparition that dances with its victims rather than just presenting a very depressing affair. This seems once again to be going along with the idea that Allen wants to tackle a serious topic but uses fantasy to analyze it. We obviously know that Death does not come for us in a cloak and carrying a sickle. It seems here that Allen is trying to comfort his own fears on death by trying to convince himself that death really is not a grim affair but rather something can be celebrated.
In 1980, Allen released the film Stardust Memories, which seems to be one of his more personal films. Stardust Memories follows the filmmaker Sandy Bates, played by Allen, who has recently been trying to make more artistic films rather than the humorous films that he was known for making. As a result of Bates making these more serious films, he has been losing or getting a lot of criticism from his fans. Throughout the film, we get several fantasy versus reality aspects that seem quite personal to Allen. Two notable scenes are one involving a young boy who looks slightly like Allen and a group of extraterrestrials that pay Sandy a visit. At one point, Bates is getting bombarded by questions from fans and press and at one point Bates looks through the crowd and sees a young boy with his mother. We notice that the boy has on a pair of glasses that are similar to what Allen himself wears as well as a cape. As Bates watches the boy, the boy suddenly flies up into the air without warning. The interesting thing about this particular scene as that it seems to suggest in terms of the theme of the film, that Bates just wants to go back to his childhood and start new. When he flies up into the sky, he seems to want to escape the crowd and go to a different place rather than take numerous questions and criticisms. This could also be alluding to Allen’s real life, in which he would like to escape all his criticisms and fly away. The other interesting scene comes when extraterrestrials visit Bates and tell him that they prefer his early funny films rather than his recent serious ones. Now we have to take into consideration that two years prior to the making of Stardust Memories, Allen released a film that seemed more serious than his previous work. That particular film was Interiors and it caused him to loose some of his audience, as he was known for making funny films rather than tackling very serious topics. This scene in the film seems to deal with some sort of anxiety that Allen had about people from all over the world being upset that he is making more serious films rather than funny ones. The aliens could represent people from another country that would be upset with the direction he is going with his work.
After Stardust Memories, Allen made a film in 1985 called The Purple Rose of Cairo. The film is about Cecilia, played by Mia Farrow, who is living during the Great Depression and is caught up in a bad marriage. She begins going to see a film at her local movie theater called The Purple Rose of Cairo to escape her lousy, everyday life. One day, one of the characters, Tom, played by Jeff Daniels, emerges from screen to be with Cecilia. This particular plot seems very reminiscent of what Allen would do during his childhood. The plot of the film feels very personal to Allen, as he would try to escape reality when he was younger by going to see films. The film implies that films create magic and that we can avoid dealing with bad relationships and problems at our work. As the film goes on, we learn that the actor who portrays Tom in the film, Gil, and the studio executives are all working to get Tom back into the film so the film can continue playing. At the end of the film, Cecilia, who is pursued by Gil and Tom, looses both men and instead of embracing reality, she slips right back into fantasy by going back to the movies.
Allen’s next film to continue the trend of people trying to escape reality with fantasy would be Alice, made in 1990. The film is about Alice, played by Mia Farrow, who is very wealthy and seems to have a loving family. Alice suffers from back pains and one day goes to an oriental herbal healer. He realizes that her back pain is stemming from more serious problems in her life. As the film moves on, we see Alice falling in love with another man. The oriental herbalist, Dr. Yang, gives Alice special herbs that give her magical powers. One of the herbs causes her to become invisible while one is a love potion that makes several men fall in love with her. At the end of the film, Alice decides that she wants to leave her husband, who is also having an affair, and try to reinvent her life. She decides to do work with Mother Theresa and devote her life to helping people less fortunate than her. Allen seems to be saying that through magic and fantasy, we can break away from our troubled mundane lives and start over. We can get away from our troubled love lives and do something for the better rather than just wasting our lives unhappily.
In 2001, Allen released The Curse of the Jade Scorpion, which used the idea of magic at its core. The film follows CW Briggs, played by Allen, who is an insurance investigator and an efficiency expert named Betty Ann Fitzgerald. One evening, CW and Betty Ann are both put under a spell at a magic show and once they are under the spell, a crooked magician convinces them to go out and steal precious jewels and money for him. The interesting idea that stems from use of the supernatural in this film is while under the spell, both CW and Betty Ann confess feelings for each other but when they are not under the spell, they hate each other. Allen seems to be implying that with the help of fantasy and magic, we can fall in love with someone who is our complete opposite. It also seems to say that magic could revive love and make people happy in the world. This seems very personal in the same idea that in fantasy we can have exactly what we want. The film also seems very personal to Allen, as the film’s plot is based off a magician and a magic spell.
When we look back on how Allen spent his childhood, one of the ways was practicing magic in his bedroom. In 2006, Allen made Scoop, which follows a young journalism student, played by Scarlett Johansson who gets involved in a murder mystery along with a magician. Allen plays the magician and when we study his background, we can assume that this role may also be very personal to him. This seems like Allen is fantasizing about a career he wished he had. We also get the same fantasy and supernatural themes that showed themselves before in Allen’s previous works. We get death showing up and leading souls to the under world, only this time death wears black instead of white like it did in Love and Death. We also get an apparition who interacts with the main characters, which feels slightly similar to what we saw in Play It Again, Sam.
While Allen says that he prefers fantasy to reality, we also have the opposing idea that Allen is interested in making very serious works. He first started making funny films and then started gravitating towards more serious works of art. With films like Interiors, Hannah and Her Sisters and Husbands and Wives, he does not incorporate elements of fantasy or the supernatural. Other serious filmmakers have obviously influenced Allen and I believe that we see the true Allen when he makes films with a fantasy element, even if it is very subtle rather than blatantly obvious.
Overall, I think it is important to monitor the elements of fantasy versus reality in the films of Woody Allen. I believe he conveys personal ideas when he adds this particular factor, as they show up in several of his more personal films. I hope to see more of these fantasy elements show up in Allen’s upcoming work and see what he has to say with them. I believe some of his most interesting works contain these elements of fantasy and I hope he keeps putting intellectual ideas behind his fantasies. For me, I prefer his supernatural work, but hey, that is just me.
Allen’s newest film, Midnight in Paris, deals with supernatural elements and will soon be added to this feature. It is now available on Blu-ray and DVD. See Anti-Film School’s review of it here.
Woody Allen on Woody Allen by Stig Bjorkman. Pg. 50