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rye-views · 5 years ago

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The Godfather Part III (1990) dir. Francis Ford Coppola. 7.7/10

I didn’t even care about Mary, but I teared up for her.

The order I liked the three movies is 1st, 3rd, and 2nd.

I can completely understand how Michael ended up here after starting off not wanting to be part of the business.

It’s Rossi.

Spoiler: [About Michael donating a large sum of money. He receives an honor at the church, which his family comes to see. Kay is remarried and has their children, Mary and Anthony. Kay says she’s here for Anthony, because he wants to stop with his law degree and pursues singing. Michael is against it and tells Anthony he can do it after finishing the degree. Kay convinces Michael to give in and he does. At a reception, Vincent, Michael’s bastard nephew through Sonny, appears and talks much with Mary. He also talks to a reporter and sleeps with her later. In the meantime, he is spiteful of Joey Zasa, who is also there and is his boss. Zasa talks to Michael and brings up Vincent, who then requests to switch to working for Michael. Zasa and Vincent are told to make up and hug until Vincent bites Zasa’s ear. Michael invites Vincent to follow him for a bit. When Vincent is sleeping with the reporter, two men come in to kill him, but he kills them after they reveal they work for Zasa. Archbishop Gilday, head of the Vatican Bank, talks to Michael about how’s good at getting people to give money for the church, but not good at being a banker. He has amassed a debt of $600 million. Michael buys his shares of the organization, Internazionale Immobiliare. This allows him to the be the largest shareholder and a chance to keep his life out of the criminal enterprise. The board approves of this situation after Gilday approves, but it must now be ratified by the Pope himself. Don Altobello wants to get in on the day and so do all of his partners who want to keep their business relationships with him. Michael refuses because he wants to go straight. Michael pays them what’s due after selling all the casinos instead. At this meeting, Zasa receives nothing and tells everyone about how he earned them money and now Michael is his enemy. Don Altobello chases him to clear up the situation. Right after, a helicopter shoots the room down from the window, killing almost everyone. Michael escapes with Vincent and his bodyguard, Al Neri. Neri says everyone who was spared was in it with Zasa, including Don Altobello. Michael has a diabetic stroke and Vincent uses this time to get back at Zasa, against Michael’s wishes. He gets approval from Neri and Connie. During a festival with Zasa’s Italian American civil rights group, Vincent shoots down Zasa. He also starts a relationship with Mary. Michael is upset at everything that happened and also tells him to break it off with Mary, because it’s a danger to her. They all travel to Sicily for Anthony’s opera debut. They stay with Don Tommasino. Michael sends Vincent to go to Don Altobello saying he’s unhappy with Michael disapproving of him and Mary and needs help. He does so and is introduced to Don Licio Lucchesi and learns of an assassin, Mosca, sent to kill Michael. He learns of a swindle with the Immobiliare Deal by Archbishop Gilday, the accountant Frederick Keinszig, and the head Lucchesi. Michael talks with Cardinal Lamberto, since he is most likely to be the next pope since the current pope is gravely ill. Cardinal pushes him to make a confession after he goes through a diabetic relapse, saying the body hurts when the mind hurts. He confesses to Fredo’s murder and Cardinal says he is right to suffer, but can be redeemed. Mosca and his son dress up as priests to kill MIchael and walk to Don Tommasino’s home. Don Tommasino sees the priests and offer them a ride. When he realizes it’s an assassin he knows, he refuses them a ride since they wanted to use him to get in. They kill him. His body is found and Tommasino’s bodyguard wants revenge and asks Michael for permission. Michael, at this time, is exploring Sicily with Kay. They talk about how they will always love each other and he talks about how he couldn’t help entering this life since his people were going to be hurt and he loved them. At Tommasino’s funeral, Michael vows to never sin again. Cardinal Lamberto is approved to be the new pope and he ratifies the deal. Michael lets Vincent take over as the new don if he gives up Mary, which he

does. While is watching Vincent’s performance, Vincent exacts his revenge. His men kidnap Keinszig and hang him from a bridge. Connie gives poisoned cannolis to Don Altobello for his birthday. Tommasino’s bodyguard visits Lucchesi saying he has a message from Michael. He is cleared of weapons, but stabs Lucchesi in the neck with his glasses. Archbishop Gilday poisoned Lamberto using the tea and then he is shot by Al Neri. Mosca is aiming to kill Michael at the performance. He kills Vincent’s men, but loses Michael. At the end of the performance, Mary has been broken up with by Vincent and confronts her father. As she does, mosca shoots Michael twice. One bullet kills Mary. Michael is only wounded. He cries. He is now sitting alone in Don Tomasino’s villa and dies.]

#godfather #the godfather #the godfather part 3 #the godfather part iii #part iii #part 3 #the godfather 3 #godfather iii #francis ford coppola #7.7 #1990 #movie #film #review #commentary #rye-views

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aion-rsa · 5 years ago

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The Godfather Coda: The Death of Michael Corleone Proves a Little Less is Infinitely More

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This Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone analysis contains spoilers.

The ending will be discussed at length. If you haven’t seen it, I’ll make you an offer you can’t refuse. Find the film, watch it with fresh eyes, then come back and celebrate The Death of Michael Corleone.

“The power to absolve debt is greater than the power of forgiveness,” Michael Corleone observes in the revelatory new opening of Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone. He may well be speaking for Francis Ford Coppola. The Godfather Part III concluded the family saga, made a profit for Paramount Pictures, and garnered seven Oscar nominations in its time, but Coppola has never been forgiven for it. The 1990 film has such an undeserved reputation, it almost feels like there was a vendetta against it. Having seen the new cut several times, the director can finally be absolved of sins he never committed.

Coppola’s finale has been bashed for its structure. Critics said he was just going through the motions and the arc of the first two films, and doing it much too slowly. However, the filmmaker was making one long film, and this is the conclusion. It references the other two films because the reality which forms this family history is well known. It is canon, the arcs are similar because each film dissembles William Shakespeare’s King Lear. The Godfather, Part III also has the balls to wear its opera cape up front, and it’s a Sicilian one. But does it move as slow as critics accused? We get an ear bite in the first quarter, a helicopter mass execution, and enough intrigue for three Hitchcock films.

The Godfather, Coda is not much different than The Godfather Part III. Coppola only cut five minutes from the 162 minutes of the original. But like a good haircut, it makes a difference, even though I think he took too much off the top. The streamlining speeds it up and makes it feel more tragic. Michael’s regrets are palpable, the dangers he and his family face are recognizable. It’s the same movie but tighter. The Godfather and The Godfather Part II are perfect films, like Casablanca or Citizen Kane, not a single scene is less than flawlessly framed, acted, and situated. The third one is a little sloppy. It happens. Martin Scorsese’s Mean Streets is sloppy and works perfectly because of it. To this writer, Mean Streets packs more of an emotional punch than Goodfellas, which is also cinematic perfection from setup to cut. The Godfather III is rough around the edges.

Coppola loves the editing room as much as any wine vineyard. He recut Apocalypse Now Redux, and added scenes which may not have been imperative, but are wholly welcome. Coppola filled in the storyline to The Cotton Club for his reworking. When The Godfather trilogy was recut and re-released as a seven-hour chronological saga, it was like hearing the Beatles’ White Album with discarded tracks included. Scenes which landed on the cutting room floor were put back in. The Godfather, Coda takes scenes out. We get less of Eli Wallach’s Machiavellian cannoli-lover Don Altobello, which is a shame because his performance has grown on me since my initial viewing. Coppola also cuts Talia Shire’s Connie Corleone when she goes full-on Lucretia Borgia, ordering an execution in a chapel.

The Godfather Part III is the purest of the saga’s films in terms of cinematic input. The first film was a masterful adaptation of Mario Puzo’s book. The second one also drew heavily from the book. By the third, the motion picture saga was on its own. Part III was also the first of the films which didn’t have the Godfather himself, Vito Corleone, in it. Marlon Brando’s performance is more than iconic; it is Americana itself. Robert De Niro bridges generations as the young Vito in The Godfather Part II. Al Pacino’s Michael is the only godfather here.

“The Pope, the Holy Father, on this very day has blessed Michael Corleone. You think you know better than the Pope?”

The original cut of The Godfather Part III opens on the flooded Corleone compound in Lake Tahoe and dissolves to Old St. Patrick’s Cathedral in Lower Manhattan’s Little Italy. The Godfather, Coda opens with a low-angle establishing shot of the exterior of St. Patrick’s Cathedral. It looks like a relic of another time. It is surrounded by the cold steel and glass of modern architecture. The midtown cathedral represents old money.

The first scene is a meeting between Michael Corleone and head of the Vatican Bank, Archbishop Gilday (Donal Donnelly). The Vatican is selling controlling shares in real estate conglomerate Internazionale Immobiliare to the Corleone family. These details don’t come out until 30 minutes into The Godfather Part III. By now putting the Vatican meeting at the beginning, followed by the Vito Corleone Foundation celebration, it fits better into the structure of The Godfather, and gives the proper weight to the deals with the Holy Roman Church.

The scene also reestablishes the Corleones as a family of great wealth. They have so much money they can bail out the Vatican. We don’t know how they made that money; we get very little detail about the years between The Godfather Part II and the late 1970s, when The Godfather, Coda is set.

We assume the Corleones had nothing to do with heroin, probably sidestepped any involvement in the Kennedy assassination, and stuck with the traditional vices, which could be best maneuvered into real power. We can imagine a Hoffa scenario because of their union involvement, but we get little indications of business beyond the chase for legitimacy. With this deal, Michael will be one of the wealthiest men in the world.

Moving the meeting also casts the archbishop in the same role that the funeral director played in the opening scene of The Godfather. The priest’s favor becomes his regret, but in a way that inverts the structure of the original film. The funeral director came to Don Corleone seeking justice after chasing the American dream, believing in it with all his soul as much as he believed in holy Mary, mother of God.

Archbishop Gilday’s impossible dream is to turn that around, to siphon the American success of the Corleone family back to Italy, after skimming his part, of course. Michael is awarded the Order of St. Sebastian from the Catholic Church after the charity run by his daughter Mary (Sofia Coppola) donates $100 million to the institution. Immobiliare is the other side of the coin, and it is a beautiful flip.

The move also fits the film closer to the original 1972 classic, positioning the Vito Corleone Foundation ceremony as the wedding scene, and introducing us to the players, and the ones who don’t play well with others. Joe Mantegna plays Joey Zasa, who is a stand-in for the John Gotti ascendancy, running Don Corleone’s old territory now that the family has moved up. Eli Wallach ties us into the family behind the family. Vincent Mancini is the bastard son of Sonny Corleone and his mistress Lucy. Actor Andy Garcia clearly enjoys this part. He turns into James Caan a few times.

Sofia Coppola’s performance has been called flat, amateurish, and not in the same universe as the rest of the film. Mary is an important part. For most of the audience, she is the most recognizable character as far as an entry into the world of the underworld. Sofia did it because her father needed her, and quickly. Winona Ryder’s unexpected bout of physical exhaustion didn’t fit with Paramount’s time schedule, and the studio’s replacement options didn’t fit the age of the character.

Coppola’s 18-year-old daughter, Sofia, still had baby fat on her face. She’d made appearances in Rumble Fish and Peggy Sue Got Married, and was used to working with her father, even though she was not an actor. European filmmakers cast non-actors all the time; they bring a real quality to roles. Lenny Montana, who played Luca Brasi in The Godfather, was a former wrestler who came to the set as the bodyguard of a ranking Colombo family member. Martin Scorsese’s mother Catherine makes an appearance in The Godfather Part III. Sofia is playing herself, a college freshman who wants to help her father.

This makes the gnocchi scene feel almost uncomfortably incestuous. Mary is Vincent’s first cousin, and we can see in the way they look at each other; it’s wrong even though it feels so right. Sofia is natural in her scenes, not emotive. She is the tourist the audience needs to circumnavigate the treacherous waters. Mary is the civilian who becomes the collateral damage of the Corleone family life. She takes the bullet intended for her father, Don Michael Corleone. Sofia did the same for her father, becoming the scapegoat for a job she took to get his movie in on time.

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Mary’s death scene has been called the worst in the history of motion pictures. It never was, and as presented in the recut, it’s entirely, emotionally effective. It’s not Bette Davis in Dark Victory, and even though it happens on the stone steps of a church, it isn’t James Cagney’s death scene in The Roaring Twenties. It isn’t meant to be. It is sad. The death itself is one of the most underplayed in film, but the music gives it the tragedy to match Michael’s reaction.

It is hard to resist the pull of the music when considering how much of a worthy ending this cut is to The Godfather saga. The themes are the trilogy’s blood and wine. Composer Nino Rota tells us when to celebrate and how to mourn. We relive Michael’s lost love Appollonia more through our ear’s memory than we do from the faded black and white photograph in the old Sicilian villa. And his reunion with Kay evokes the post-war era they met in. The music ties the film together so beautifully that this time around it feels like the skin of the original, rather than its clothes.

By the end of the film, the emperor has no clothes. Michael thinks he can break a glass ceiling through legitimate business but admits “The higher I go, the crookeder it becomes.” Senators and presidents have men killed. The church is no different. Legitimacy is an illusion. Coppola saw The Godfather Part III as an epilogue. Paramount wanted to grow a franchise. Coppola had to be persuaded to make a sequel to the first film. Paramount wanted Coca-Cola instead of wine. And they treated The Godfather Part III like the Fredo of Godfather movies.

Fredo is all over this film. How he died is the first question Mary asks Vincent. It’s the last rite in Michael’s confession to the Vatican priest who will become Pope, a scene which contains one of the funniest exchanges in the film. Michael tells Cardinal Lamberto (Raf Vallone) a list of his sins would take up too much time. The first cut may have been the deepest, but the final cut in The Godfather, Coda is the most ironic. Coppola adds the subtitle, in quotations, apart from the puppeteer logo of the films and book, and then takes exactly that promise away.

The final scene cut from The Death of Michael Corleone is the death of Michael Corleone.

The Godfather Part III ends as Michael is sitting alone outside a villa in Sicily. All family debts have been settled, but he has no family left. He is wearing dark glasses, slumps in his chair, loses his grip on the orange in his lap, and falls dead to the ground. Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone ends, not only with him still alive, but wishing him Cent’anni, telling the audience it means “for long life” and reminding viewers “a Sicilian never forgets.”

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The phrase actually translates to 100 years. Imagine how many Godfather sequels could be made in that time. Michael is left alive, alone. Atonement is beyond him. He loses his family just as he is on the precipice of finally being able to give them what they need. But the coda to Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone is an allegory to what Paramount wanted, more life. Yes, Al Pacino’s Don Michael Corleone spent all this time waiting for them to pull him back in.

The Godfather, Coda: The Death of Michael Corleone is available now on Blu-ray and digital.

The post The Godfather Coda: The Death of Michael Corleone Proves a Little Less is Infinitely More appeared first on Den of Geek.

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hiphoplines · 8 years ago

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Minus the patois, nigga the flow is agua Papi sold me a brick and taught me the cha-cha Godfather part 3, I'm Joey Zasa Hakuna Matata, the jeweler don't bother when he knows the bet's golden and holdin' is Iguodala

Pusha T

#pusha t #music #rap #quote #hiphop #alcantara

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ultrafilmes · 5 years ago

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O Poderoso Chefão: Parte III

Nova York, 1979. A Ordem de San Sebastian, um dos maiores títulos dados pela Igreja, é dada para Michael Corleone. Michael está velho, doente e divorciado, mas faz atos de redenção para tornar aceitável o nome da família Corleone. Na comemoração pelo título recebido, após 8 anos de afastamento, Michael recebe "Vinnie" Mancini, seu sobrinho. Nesta tentativa de diálogo a conversa toma um rumo hostil, pois participava também da reunião Joey Zasa, que agora mantém o domínio de uma área outrora mantida por Don Vito Corleone. Vinnie é chefiado por Zasa, mas fala que não quer continuar. Vinnie é quase morto pelos capangas de Zasa e uma guerra pelo poder tem início. Um arcebispo da Igreja solicita a Michael US$ 600 milhões, pois resolveria o déficit da Igreja, oferecendo em troca que Michael ganhe o controle majoritário da Immobiliare, empresa européia de propriedade da Igreja. Michael concorda, mas isto deixa vários membros do clero contrariados, que não o aceitam por sua vida duvidosa. Read the full article

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commandertrump · 6 years ago

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Don’t listen to Gordon “Sonny” Sondland! Don’t listen to him! We call him Sonny for a reason! He’s the one that doesn’t know what he’s talking about! Except when he says things that are good to me!

God, what is this? I feel like I’m in The Godfather. I never saw it, but everybody’s always telling me about it. They say Rudy’s Fredo. I guess these two Ukrainian guys that I DO NOT KNOW are that Jew. And Usurping Mike would be...Joey Zasa.

I did see Godfather III. Skipped right to the end with those movies. Tremendous film. Tremendous.

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hoffmans-hoffman · 3 years ago

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Love or Loyalty

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Love or Loyalty is the ship name between Joey Zasa and Dino Corleone. THIS is my Magnum opus of ships because it technically forbidden and I LOVE that.

Secret boyfriends! Secret meetings! Secret sex! BRUH ITS EVERYTHING I WANT!!

#otp: Love or Loyalty #Dino Corleone #joey zasa #Dino x Joey

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90smovies · 8 years ago

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The Godfather Part III

#The Godfather Part III #Francis Ford Coppola #Joey Zasa #Zasa #Andy Garcia #Al Pacino #Bridget Fonda #Mario Puzo #Fred Fuchs

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thatsmovietalk · 6 years ago

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Just Pinned to The Godfather Epic: The Godfather: Part 3 (4/10) Movie CLIP - Joey Zasa Gets No Respect (1990) HD - YouTube https://ift.tt/2TWGh8t

#Pinterest #The Godfather Epic

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aion-rsa · 5 years ago

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The Godfather Coda: Will The Death of Michael Corleone Fix Part III?

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“Friends, our business together is done,” Al Pacino’s mob family patriarch says in the official trailer for Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone. And Francis Ford Coppola hopes the new conclusion to the mafia saga takes care of all family business. For the 30th anniversary of The Godfather: Part III, the director and screenwriter will release a new edit and restoration of the final film of The Godfather trilogy.

The Godfather: Part III was nominated for seven Academy Awards, including Best Picture and Best Director. Goodfellas, released that same year, only got six nominations. Neither won Best Picture. Before that The Godfather III had been one of the most anticipated films of all time, but wound up being one of the most maligned theatrical releases.

It has become shorthand to describe cinematic disappointment. Coppola had delivered Paramount Pictures two major motion picture achievements, which the director had to fight to maintain his creative control. Made on a $6 million budget and completed ahead of schedule, The Godfather was the first film in history to take in a million bucks a day. It was nominated for 11 Oscars and won three. The Godfather: Part II was the first movie sequel to win the Academy Award for Best Picture. The studio would eventually reward the director by further limiting his ability to complete his vision.

Paramount wanted Coppola to continue the epic immigrant family saga in time for a Christmas 1990 theatrical release. Once Coppola and the novel’s author Mario Puzo sent in the completed screenplay, written under a rushed deadline, the studio told the director to have the final cut ready in one year. As Marlon Brando’s Vito Corleone asked funeral director Amerigo Bonasera in the opening scene of The Godfather, “What did I ever do to make you treat me with such disrespect?”

Paramount Pictures might have thought Coppola deserved the shoddy treatment. The box office promise Coppola brought the studio in the 1970s petered out in the 1980s as films like One from the Heart, Rumble Fish, The Cotton Club, Gardens of Stone, and Tucker: A Man and His Dream all failed to score with mass audiences. Even the success of Peggy Sue Got Married failed to win Paramount over to Coppola’s side. At one point, the studio approached Sylvester Stallone to direct Godfather III.

Compounding the troubled production, casting problems led to rushed replacements. Robert Duvall balked at reprising his role as consigliere Tom Hagen after he heard how much Pacino was getting paid. Winona Ryder dropped out of the film after her first day of shooting, citing nervous exhaustion. The director cast his daughter Sofia Coppola, as Mary, the daughter of Michael Corleone and Kay Adam.

But Coppola wasn’t powerful enough to command more time to do the post-production editing required. When Coppola first offered the final installment of The Godfather Trilogy, he titled it “The Death of Michael Corleone.” Made 16 years after The Godfather: Part II, Paramount did not like the title, and was not too happy with his original ending.

He’s had 30 years since then.

“The film’s meticulously restored picture and sound, under the supervision of American Zoetrope and Paramount Pictures, includes a new beginning and ending, as well as changes to scenes, shots, and music cues,” according to the trailer’s official synopsis. “The resulting project reflects author Mario Puzo and Coppola’s original intentions of The Godfather: Part III, and delivers, in the words of Coppola, ‘a more appropriate conclusion to The Godfather and The Godfather: Part II.’”

But can it? You may as well ask if the Corleone family could ever go legit. The Godfather films are about the American Dream, but Don Vito’s offspring suffer night terrors. Michael Corleone never gets revenge, but the proper ending may fulfill his destiny. Coppola won’t be able to bring Tom Hagen into the frames, and George Hamilton is no Robert Duvall.

And what about Sofia Coppola’s lifeless death scene? If Coppola cuts her one word, “dad?” her death might have meaning. His daughter was not an actress, but Coppola reasoned she was the real thing: a 19-year-old Italian girl and the daughter of a respected, powerful man. Was it a case of nepotism? Laura San Giacomo and Linda Fiorentino were considered for the role when Ryder had to pull out, but production was already behind schedule. The role of Mary Corleone was coveted, Julia Roberts was considered for it, and Madonna lobbied for it. Sofia has gone on to distinguish herself as a director, but her father has never heard the end of it.

For Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone, Coppola and his production company American Zoetrope worked with Paramount’s restoration team, searching through 300 cartons of negative for over 50 original takes to replace lower resolution opticals in the original negative. In the featurette, Coppola says he re-edited the film to bring new life to it, changing some of the sequences, and the musical cues. He’s also said in interviews his new cut will justify casting his daughter.

For a reputedly unmemorable film, The Godfather: Part III is filled with unforgettable scenes, and performances. A massacre in Atlantic City is executed via helicopter; Andy García, as Sonny Corleone’s illegitimate son Vincent Mancini, bites the ear off Joe Mantegna’s Joey Zasa; Talia Shire’s Connie Corleone kills Eli Wallach’s Don Altobello with cannoli. The last half hour may be Coppola’s most ambitious sequences in film. The Vatican conspiracy subplot, which doesn’t quite come together in the film, may even be easier to untangle, given the new edits.

The Godfather Part III had its world premiere on Dec. 20, 1990 at the Academy Theater in Beverly Hills. Pauline Kael, reviewing it for The New Yorker, said it was a “public humiliation,” but that was because she was comparing it to the first two films. Roger Ebert ranked it higher than The Godfather Part II, and The Los Angeles Times called it “one of the best American movies of the year.” So it’s not so much a case of it being a bad film, it’s just not a great film.

Editing is a mysterious art, and it could even be conceivable Coppola might transform Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone into a cinematic experience on par with its predecessors by rearranging the original footage. When Paramount brought Coppola on for the original film, they wanted him to make a quick and cheap gangster picture out of a bestselling book. He changed cinema. Will he rewrite history again? The saga continues.

Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone will get a limited theatrical release on Dec. 4. It will be available on Blu-ray and digital on Dec. 8.

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