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.