[Review] The Godfather Part III (1990): Can the Most Unholy Sins Be Redeemed?

The Godfather Part III (1990) did significantly better according to both domestic and worldwide box office data ($66,520,529) in comparison to the previously released The Godfather Part II (1974). While Paramount Pictures did not have to try and sell the film to the fanatic movie-goers, the reviews for the film remain dissonant to this day. The author of the 1990 NY Times article is mesmerized by the film; in fact, she claims it was completed by “fascinating threads of continuity”. Members of other websites like Reddit and Rotten Tomatoes would agree The Godfather Part III is the worst one of it all. I’d summarize my experience like this: Another great film packed with death, guilt, and a little more romance this time; however, it is still not as good as the first two productions. I’ll examine the bigger themes and talk about a few logistical mistakes in this article.

Read first,

[Review] The Godfather (1972): An Immigrant Story of Succession

[Review] The Godfather Part II (1974): The Role of Women and Children

 

Between the Lines (Part II and III): The Off-Screen Transformation of Michael Corleone

The Godfather Part II begins roughly in 1958-1960, and about 20 years pass until the audience sees the Corleone family again in the third film, which begins in 1980. I’ve seen many reviews that felt the characters remained the same during the part of their lives that were unseen, or off-screen. To me, it is the opposite. Connie showed her cunning side a little more, and Kay seemed to have returned back to her free American roots, just as she was before her marriage to Michael. I already talked a bit about the contrast between the two women here; To add, this contrast was a little more exaggerated within the part III film.

[Review] The Godfather Part II (1974): The Role of Women and Children

Welcome to the second review of The Godfather trilogy directed by Francis Ford Coppola. If you haven’t already, read the first review here: “[Review] The Godfather (1972): An Immigrant Story of Succession”.

“I saw a strange thing today. Some rebels were being arrested. One of them pulled the pin on a grenade. He took himself and the captain of the command with him. Now, soldiers are paid to fight; the rebels aren’t.”

“What does that tell you?”

“They could win.”

Becoming The Monster Child: Michael Corleone (Based on Part I & II) 

The Godfather 2 (1974) is a sequel to the groundbreaking first film The Godfather; however, it would be an insult to call it a continuation. The film intertwines the lives of Michael’s father Don Corleone (as Robert De Niro) and his most favored son and heir Michael (as Al Pacino). While the audience watches Michael advancing his position as Don and the respected crime leader, the film is more about Don Vito Corleone’s past and its impact on Michael. [Spoiler ahead]

[Review] The Godfather (1972): An Immigrant Story of Succession

“Freddie, you’re my older brother.

I love you. But don’t ever take

sides with anybody against the

Family again.”

Summary: A crime drama based in the 1940s New York City, tells the story of an Italian American father transferring power and influence of his mafia business to his son.

The Italian Mafia Reimagined: Theme of Succession in The Godfather

In the 2019 Fresh Air interview by NPR’s Terry Gross, the writer and director Francis Ford Coppola travels back in time and talks about the small but crucial decisions he had to make when shooting The Godfather. While answering questions for what is classified as a crime film, Coppola says all aspects of the production had to support the theme of succession. “I would always know that as long as I was telling the story of the succession of – there was a king, and he had three sons.” says Coppola during the conversation. Indeed, The Godfather is a reflection of the collective Italian culture and their togetherness under one patriarchal roof—that is Don Corleone (as portrayed by Marlon Brando). Despite the clashing personalities of his sons, there are barely any arguments about the (then unstable) future of the family between those who enter and exit Don Corleone’s office, which appears in the film several times. Thus, the peace of the family is secured under whoever becomes the leader of the family business and has a duty for the wellbeing of all.