Film Review: The Godfather Part III (1990)

(source: tmdb.org)

“Sequel that nobody wanted” or “sequel that ruined it for everybody” are situations that could happen even to a film series that, until that point, consisted of undisputed classics. In 1972 Francis Ford Coppola rewrote film history with his popular, “Oscar”-winning and immensely influential gangster epic The Godfather. Two year later he repeated the same triumph with The Godfather Part II. Audience had to wait sixteen years for the next film in the series and when it finally came, it predictably fell short of great expectations and high standards set by its two predecessors.

The plot begins in 1979, roughly two decades after the events depicted in previous film. Al Pacino returns in the role of New York mafia boss Michael Corleone. Although he managed to maintain immense power and wealth, advanced age and health problems make him aware of the price paid for it. He is estranged from part of his family that can’t forgive and tolerate his murderous actions. Wife Kay (played by Diane Keaton) left him, while son Anthony (played by Franc D’Ambrosio) defied him by choosing career of an opera singer instead of law. His sister Connie (played by Talia Shire) is loyal, just like his daughter Maria (played by Sophia Coppola). She, however, starts romantic relationship with Michael’s nephew Vincent Mancini (played by Andy Garcia), young, ambitious and hot-tempered man who has developed feud with Joey Zasa (played by Joe Mantegna), Michael’s former underboss who has taken street operations in New York. This happens just as Michael wants to achieve lifelong dream of abandoning his criminal past and turning to legitimate business in order to become part of respectable society. In order to do so, he was engaged in philanthropic activities that brought him Order by St. Sebastian by Cahtolic Church. Michael wants to buy shares and take control of Internazionale Immobiliare, old and respected European real estate firm which is partially owned by recently troubled Vatican bank. This plan creates enmity among other Mafia leaders, as well as European aristocrats, Italian politicians and top Vatican clergy who fear that Corleone could bring unwanted attentions to their illegal activities. Michael becomes target of assassins and during visit to Sicily he must devise a plan how to trick his enemies and save his and life of his family.

The Godfather Part III was, by ordinary criteria, a successful film. It had more than decent results at the box office and earned seven “Oscar” nominations. Reviews were, however, mixed and this led to reputation of disappointing failure that remains to this day. This could be attributed to underwhelming impression which was quite understandable due to inevitable comparisons with two previous films, but also to circumstances of production. Although Coppola wanted to make a third film for a long time, actual decision to start the project was partially motivated with desire to restore old glory after series of flops and disappointments in 1980s. Return to his best known and most popular work looked quite natural. However, the film was rushed into production, resulting in some less than fortunate creative choices.

Coppola still shows the skills worthy of one of the greatest directors of his generations. The Godfather Part III is superbly directed, with Coppola using his old associates like cinematographer Gordon Willis and production designer Dean Tavoularis that work very hard that the third Godfather has the exactly same look as previous two. This impression is helped by Coppola’s father Carmine whose musical score effectively accompanies themes originally written by Nino Rota. The script Coppola co-wrote with Mario Puzo, on the other hand, shows that both men exhausted their creativity. Plot and structure of the film is at times too reminiscent of the previous two films. Part III begins with long scene of celebration and ends with elaborate scene of multiple assassinations. Characters which didn’t exist in the first two films are brought and retconned into major figures of Corleone saga. Some new characters are introduced only to mysteriously disappear, like reporter played by Bridget Fonda or brought without any serious purpose, like priest played by John Savage which just happens to be son of Tom Hagen, character from two film written out from the third because Robert Duvall refused to take part. Dialogue, especially in the first part of the film, is often underwhelming.

Puzo and Coppola, on the other hand, try something different by building their plot on the basis of some real life events and scandals and conspiracy theories associated with Vatican in 1970s and 1980s, including mysterious death of Pope John Paul I, whose fictionalised version appears as character played by veteran Italian actor Raf Vallone. In many ways, Part III tried to show tragic futility of Michael Corleone’s attempts to extract himself and the family from clutches of criminal past – the “polite” society he strives to belong is as corrupt, ruthless and ultimately murderous as petty thugs on the mean streets of New York City. This includes not only chaotic and violent world of Italian First Republic, represented in character of Don Liccio Luchessi (played by Enzo Robutti and inspired by former prime minister Giulio Andreotti), but also the Church, represented by Archbishop Gilday (played by Donal Donelly and inspired by Archbishop Paul Marcinkus). Coppola and Puzo, unfortunately, brought most of that material in the second part of the film, with plot being slightly rushed and various intriguing details becoming difficult to spot to anyone not familiar with history of modern Italy.

The main issue of Part III is conceptual. While the first two films were based on novel and had clear narrative structure and fascinating content, here much of that is sacrificed to the ending which is deliberately made too operatic. Coppola has built much of the film on the scene that takes place in Teatro Massimo in Palermo and features Pietro Mascagni’s Cavaleria rusticana; the scene is spectacular , but can be properly enjoyed only by the fans of the opera which are likely to be minority among the audience. By emphasising melodrama, Coppola at times undermines the characters so carefully built in previous two films, making them too mellow, too emotional or too convenient. Michael’s son Anthony, for example, is written as opera singer simply to give excuse for his father and other characters to gather in theatre for spectacular finale.

The cast is, as it is to be expected, very good. Some of the actors from previous two films repeated their roles. Al Pacino, although far from his best, is convincing in the portrayal of powerful man increasingly affected by old age, regret and conscience. Some of the new actors also show great skill, like Joe Mantegna playing brash character of media-friendly mafioso modelled after John Gotti. Andy Garcia is also very good in the role of Michael’s protege and successor who, for better and worse, embodies all traits of his family. Unfortunately, The Godfather Part III is ultimately wrecked by another casting choice. Coppola gave the role of Maria to his daughter Sophia who simply couldn’t act and whose lack of talent became so frustratingly apparent in scenes with other, more experienced, actors. Romantic and potentially controversial subplot around her character’s semi-incestuos affair with cousin is destroyed by complete lack of chemistry with Garcia. Sofia Coppola was later given two Razzies and her debacle ultimately became the part of Godfather Saga lore, making the film hated by cinephiles and even fans of Coppola’s work. Her father spent next decades defending himself from accusations of nepotism and claiming that she was cast as last minute replacement for Winona Ryder, who had left production due to exhaustion. Sofia Coppola would, to her credit, later make amends by working behind camera and proving herself as an accomplished director in her own right.

The Godfather Part III is more than watchable and, at times, quite fascinating and entertaining. Yet, it is unmistakably disappointing and it is quite easy to understand why many fans of the Godfather Saga like to pretend that it doesn’t exist.

RATING: 5/10 (++)