Film Review: The Godfather, Part III (1990)

Also known as: The Death of Michael Corleone (working title)
Release Date: December 20th, 1990 (Beverly Hills premiere)
Directed by: Francis Ford Coppola
Written by: Mario Puzo, Francis Ford Coppola
Music by: Carmine Coppola
Cast: Al Pacino, Diane Keaton, Talia Shire, Andy Garcia, Eli Wallach, Joe Mantegna, Bridget Fonda, George Hamilton, Sofia Coppola, Raf Vallone, Franc D’Ambrosio, Donal Donnelly, Richard Bright

Zoetrope Studios, Paramount Pictures, 162 Minutes, 170 Minutes (VHS Special Edition)

Review:

“I, uh, betrayed my wife. I betrayed myself. I’ve killed men, and I ordered men to be killed. No, it’s useless. I killed… I ordered the death of my brother; he injured me. I killed my mother’s son. I killed my father’s son.” – Michael Corleone

Godfather, Part III gets a lot of shit from just about everybody but I think the general hatred for it is asinine and people dismissing it mainly do so because it doesn’t live up to the bar set by the two films before it. That doesn’t make it a bad movie on its own, though. And honestly, if you look at it, as its own body of work, it’s a pretty compelling and interesting picture.

I like that it takes place at the end of Michael Corleone’s life and it shows how much power he’s amassed for the family, decades after the first two films.

Michael also tries to sort of legitimize everything and wash the blood off of his hands from the past. You also see how certain decisions he’s made have haunted him, such as killing his brother Fredo. However, it’s hard to change one’s nature and its influence and as much as Michael struggles to make things right, old habits die hard and the family finds itself in another war.

This time, the Corleone Family is so powerful that they have a scheme going with powerful people within The Vatican. I don’t want to spoil too much about the plot details but all of this I found really damn interesting. Even if you don’t agree with Michael’s methods, it’s hard not to respect what he’s accomplished with what he convinces himself are noble intentions.

I love that the movie takes this guy, at the end of his life, and exposes his flaws, his doubts and explores how haunted he is and how it’s changed him while still keeping him cold, callous and calculated. It’s a damn masterpiece in how this film showcases his inner conflict and both sides of his character. This is a testament to how good Al Pacino is as an actor, as well as how great of a writer Mario Puzo was and how well Francis Ford Coppola understands these characters.

Additionally, the relationship with Michael and his children has a massive impact on his evolution. I think that Coppola, also coming from a large, close Italian family understood these dynamics quite well and was able to pull from his own experiences as a father and make them fit for the Corleones and their unique situation.

Everything between the core characters’ relationships felt genuine and real. You could sense the pain and the regret between Michael and his ex-wife, Kay. You felt the tension between father and son, as wells as the love between father and daughter. Frankly, with this being as strong as it was, it made the final moments of the picture truly gut-wrenching.

Now I can’t call this movie perfect, as the criticisms of Sofia Coppola’s performance over the years are pretty accurate. Well, the real criticism, not the cruel criticism from those that hate the movie just to hate it. Originally, this role was meant for Winona Ryder but she dropped out of the film and I think that it suffered quite a bit because of this.

Also, the pacing is a bit slow at times and even though this is the shortest of the three Godfather films, it feels like it’s actually the longest.

Other than those two things, I don’t really see any other negatives.

Coppola’s direction is stellar and his eye for visual perfection is uncanny. Cinematographically, this is one of his best films. Everything and I mean everything looks absolutely majestic and flawless. This is a beautiful film from the opening frame to the last and there isn’t a moment that isn’t visually breathtaking.

The score by Carmine Coppola is also superb but then, so is all the film’s music from the party scenes to the big opera house finale.

As I stated in my first paragraph, I don’t get the amount of shit that this picture receives from fans of the series. It’s a damn fine film with minimal flaws and it gives a satisfying ending to a massive family saga. It’s like the third act to a Shakespearean tragedy and when you look at the whole body of work, over the course of three great movies, it’s a tale worthy of rivaling some of literature’s greatest epics.

Rating: 9/10
Pairs well with: its predecessors.

Film Review: Annie Hall (1977)

Also known as: It Had to be Jew, Anhedonia (working titles)
Release Date: March 27th, 1977 (Filmex)
Directed by: Woody Allen
Written by: Woody Allen, Marshall Brickman
Music by: various
Cast: Woody Allen, Diane Keaton, Tony Roberts, Carol Kane, Paul Simon, Janet Margolin, Shelley Duvall, Christopher Walken, Colleen Dewhurst, Dick Cavett, John Glover, Mark Lenard, Jeff Goldblum, Beverly D’Angelo, Tracey Walter, Sigourney Weaver, Truman Capote, Laurie Bird

Jack Rollins & Charles H. Joffe Productions, Rollins-Joffe Productions, United Artists, 93 Minutes

Review:

“[referring to California] It’s so clean out here.” – Annie Hall, “That’s because they don’t throw their garbage away, they turn it into television shows.” – Alvy Singer

I’m not what you would call a big Woody Allen fan but I do find a lot of his films to be amusing. This is one of them and this is also probably my favorite out of the Allen pictures that I’ve seen.

While I’ve seen all of the famous scenes from Annie Hall time and time again in documentaries and shows about movies, I’ve never seen this film in its entirety and in the proper sequence with all of the narrative context. In some ways, this film is actually kind of genius in how refreshing, original and authentic it feels. But I also didn’t know, until now, that this was sort of autobiographical in regards to Allen and Diane Keaton’s real romantic relationship a few years before this movie.

What makes this work so well is the natural chemistry between Allen and Keaton. But even then, Allen had solid chemistry in his scenes with Shelley Duvall and Carol Kane. It’s hard to say that he’s a great actor when he’s essentially just playing himself but his natural charm works wonders in this picture and it gives a certain life to scenes that may have felt dry if played by someone else.

Diane Keaton was lovable and fun in the picture and I think she is the real glue of the film, even more so than Allen. The reason being is that she just radiates a glow that encapsulates anyone on the screen with her. You clearly see the woman that Woody Allen is legitimately infatuated with.

From a narrative standpoint, this is Allen writing what he knows most intimately. But even then, I don’t think that this authentic tale would have had the magic without the performances in the film. This is lightyears better than a standard romantic comedy but I feel like that’s because the main players felt very at home with the material and they took this very seriously, where most romantic comedies tend to by cheesy and lacking depth in the performances of their actors.

Allen certainly knows how to direct and it is very apparent here. He gets the most out of everyone on screen, including himself. It’s easy to write about your life but it’s difficult to make something so genuine.

In the end, this is a fun, cute, lighthearted picture that presents romance and comedy in a unique way that is very much Woody Allen. He’s had similar films but nothing that hits the right notes in quite the same way.

Rating: 8.5/10
Pairs well with: other early Woody Allen films.

Film Review: The Godfather, Part II (1974)

Release Date: December 12th, 1974 (New York City premiere)
Directed by: Francis Ford Coppola
Written by: Mario Puzo, Francis Ford Coppola
Based on: The Godfather by Mario Puzo
Music by: Nino Rota
Cast: Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, Talia Shire, Morgana King, John Cazale, Marianna Hill, Lee Strasberg, Bruno Kirby, Joe Spinell, G.D. Spradlin, Frank Civero, Roman Coppola, Danny Aiello, Harry Dean Stanton, James Caan, Abe Vigoda, Richard Bright, Dominic Chianese, Michael V. Gazzo, Connie Mason (uncredited)

The Coppola Company, Paramount Pictures, 200 Minutes

Review:

It is hard saying which is the better movie between The Godfather and The Godfather, Part II. For me, both of them are as close to perfect as a movie can get. I like Part II the most overall but I like that Part I isn’t broken up by a nonlinear plot and feels more cohesive. I also like the ensemble of the first movie better. That is actually magnified when you get to the end of Part II and see a flashback dinner scene of all the men in the family, excluding Marlon Brando’s Vito. After spending almost seven hours with this family, up to this point, they always seem to be at their best and their most dynamic when all the men are present.

Everything positive I said about the first film still holds true in the second. The acting, direction, cinematography, costumes, art and design are all absolutely top notch.

However, this chapter in the saga takes things to a new level. The world that the Corleone family lives in is even bigger and more opulent. The section of the film that sees Michael go to Cuba is mesmerizing. It adds an extra bit of grit to the picture, not that it needed anymore than it already had.

The highlight of this film is Robert De Niro’s portrayal of the younger Vito Corleone. He took a role that was very much Brando’s and made it his own without stepping on the toes of his elder. It was definitely a performance that deserved the Oscar De Niro got for it. It is also the only time two different actors have won an Oscar for playing the same character.

The film also contrasts the first movie in that you see the Corleone empire being run in different ways. While the family business is the bottom line, Michael goes further than his father in what he’s willing to do to keep the empire running. Michael went from a young man who didn’t want his family to define his legacy, in the first film, to a man that goes to extremes to keep the family together while he is battling the conflict within himself.

Godfather, Part II is a more dynamic and layered story overall and it is well-executed. While I mentioned preferring the linear plot to Part I, the plot is still managed perfectly. The scenes of Michael and then the flashbacks of Vito go hand-in-hand and they reflect off of each other, showing that despite the differences in the father and son characters, that they still travel the same path in a lot of ways.

In reality, The Godfather and The Godfather, Part II just feel like one really long movie that had to be broken into two parts. And the place where they decided to break them, at the end of the first movie, was the best spot. It flawlessly separates the legacies of the two men, out for the same thing but in very different ways.

Rating: 10/10

Film Review: The Godfather (1972)

Release Date: March 15th, 1972 (Loew’s State Theatre premiere)
Directed by: Francis Ford Coppola
Written by: Mario Puzo, Francis Ford Coppola
Based on: The Godfather by Mario Puzo
Music by: Nino Rota
Cast: Marlon Brando, Al Pacino, James Caan, Richard Castellano, Robert Duvall, Sterling Hayden, John Marley, Richard Conte, Diane Keaton, Talia Shire, Abe Vigoda, Alex Rocco, Joe Spinell, Sofia Coppola, Richard Bright, John Cazale

Alfran Productions, Paramount Pictures, 177 Minutes

Review:

I had a great experience, as I finally got to see The Godfather on the big screen. Like my recent experience of seeing Aliens in the theater, movies just take on a different life when seen in their intended format, much larger and in a dark movie house with other filmgoers there for the love of the picture.

I’ve mentioned before that it is hard to review a masterpiece and this is really no different. In fact, The Godfather goes beyond that. It is a film truly devoid of any real flaws.

I don’t need to talk about the great story and the great acting or how Francis Ford Coppola was at the top of his game – everyone already knows that. The music is perfect, the cinematography is absolutely pristine and tonally, everything is pure magic. I mean, this is a film that has a 9.2 on IMDb. Only one other picture in the entirety of film history is rated higher and that is The Shawshank Redemption.

The Godfather‘s real appeal is that it truly feels timeless. It takes place in the 1940s but was made in the 1970s, yet none of that matters. The world within the film, even now, feels true to itself and incredibly authentic. The Godfather has a certain realism to it missing from most other films, especially the mafia crime genre. It doesn’t feel like Hollywood at all, it feels like you are really a fly on the wall in this family’s home. Even Goodfellas, as great as it is, doesn’t come close to the authenticity of The Godfather.

The film is long, at almost three hours. That is usually a bone of contention with me, but everything in the film feels necessary. Where I feel that certain filmmakers make really long epics in an effort to somehow legitimize their films as something epic and great, The Godfather is one of the few that deserves as much time as it needs. Here, the time is truly needed. At the other end of the spectrum, 2005’s King Kong didn’t need three hours, let alone the extra twenty minutes that brought it to a whopping 200 minutes.

The running time, makes The Godfather feel more like a lengthy miniseries, especially taking into account its sequel, which was even longer. However, it deserves to be seen in the theater. In fact, that is where it should be seen. Not on a small screen where it has existed for the entire duration of my lifetime. I really hope the sequel gets re-released theatrically in the very near future. Hell, I’d even see The Godfather: Part III just to complete the saga on the big screen.

If you have the opportunity to see this in the theater, you need to. And if you’ve never seen the film, you really owe it to yourself to experience it.

Rating: 10/10