Although The Godfather Part III never achieved the same critical success as the first two movies, its reputation has been unjustly maligned over the years. There are many reasons why The Godfather Part III isn’t as bad as some people make it out to be. While there are some valid criticisms which do hold up, The Godfather Part III was still nominated for Best Picture, and it deserves more respect.
The Godfather Part III has been criticized ever since its release in 1990, with many people feeling let down after the groundbreaking success of the first two movies. Sofia Coppola’s performance as Mary Corleone is one point of contention, but the plot has also come under fire. It’s easy to dismiss The Godfather Part III, but understanding Francis Ford Coppola’s vision and some of the intriguing layers to the drama can help change people’s minds.
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10 The Godfather Part III Was Burdened With Sky-High Expectations
The First Two Movies Were Tough Acts To Follow
Following on from two of the greatest movies ever made was always going to be an immense challenge, so in some ways, The Godfather Part III might have been doomed from the beginning. Leaving a gap of 16 years between movies only worsened this problem, since the first two movies had grown in stature over the years. Part III would only have been seen as a success if it had been an instant classic worthy of the first two.
Some people will probably think
Part III
is worse than it really is just because it was a disappointment.
Although it certainly isn’t the best movie in the Godfather trilogy, some of the criticism directed toward Part III has sought to denigrate it by contrasting it with the two masterpieces which preceded it. Unfortunately, due to the interlinking nature of the plot, it’s impossible to view Part III without the context of its predecessors. However, some people will probably think Part III is worse than it really is just because it was a disappointment.
9 Part III Builds On The Roman Empire Imagery
Coppola Refines One Of The Godfather’s Long-Running Motifs
Coppola has always been an ambitious director with a scope for epics. The Godfather trilogy tracks the history of the Corleone family with several allusions to the Roman Empire, giving them a sense of historical importance. This reflects the way that Italian-American crime families are structured with terms taken directly from Ancient Roman military regiments. The Godfather Part III expands on this idea.
It’s no coincidence that the assassination attempt on the steps outside the opera house mirrors Julius Caesar’s death.
The Godfather Part II ends with one of the most direct references to Roman history, as Frank Pentangeli slits his wrists in the bathtub. This sets up a Part III with even more overt allusions to Ancient Rome, solidifying the idea that Michael Corleone is like an Emperor, beset on all sides by conspirators and assassins. Just as the fall of Rome was caused in part by the decadence of the ruling class, Michael discovers new enemies when he wants to retire in luxury. It’s no coincidence that the assassination attempt on the steps outside the opera house mirrors Julius Caesar’s death.
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8 The Religious Elements Give The Godfather Part III An Appropriate Sense Of Grandeur
Part III Sees Michael Dealing With The Guilt Of His Sins
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One of the recurring motifs in the Godfather trilogy – aside from the references to Ancient Rome – is Catholic symbolism. Michael Corleone’s rise to the top in The Godfather takes place when he arranges the murders of his rivals during his nephew’s baptism, and Part III continues this extended allegory. With much of the action taking place in the Vatican, Part III is more obvious with some of its religious symbolism.
Since
The Godfather Part III
is concerned with guilt, death and rebirth, the Catholic symbolism is perfectly measured.
The Godfather Part III fictionalizes some real-world history relating to the Church, such as the death of Pope John Paul I. One of the most striking scenes from the film features Michael Corleone confessing his sins to the man who would soon become pope. Since The Godfather Part III is concerned with guilt, death and rebirth, the Catholic symbolism is perfectly measured. There are also some sly links between the opulence and corruption of the Church and the Corleone family itself.
7 Connie Has A More Interesting Role
The Godfather Part III Gives The Female Characters More To Do
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Women are often brushed to the side in the Corleone family’s business dealings, so it’s refreshing to see The Godfather Part III placing more importance on the female characters. Connie, Michael’s sister, is particularly important, since she is the only surviving member of his family. She stays close to Michael as he suffers through ill health and death threats, and she eventually proves that she can be just as ruthless. She poisons Altobello with some cannoli.
Aside from Connie,
The Godfather Part III
also fleshes out Kay’s role, and Mary is an interesting character despite the controversy over Sofia Coppola’s casting.
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Connie is an interesting character, as she is often left out of family affairs because the Corleones believe that women shouldn’t get their hands dirty in the business. She harbors a lot of resentment about this, but she still relies on Michael after she loses her other brothers. Aside from Connie, The Godfather Part III also fleshes out Kay’s role, and Mary is an interesting character despite the controversy over Sofia Coppola’s casting.
6 Vincent Is A Great Addition To The Godfather Part III
Andy Garcia Delivers A Standout Performance As Michael’s Nephew
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The cast of The Godfather and its sequel features some of the greatest film actors of the 20th century, including Al Pacino, Marlon Brando, Robert De Niro, Robert Duvall and James Caan. Pacino is the only one of these five who returns for Part III, and some of the new additions to the cast fail to live up to these high standards. Andy Garcia is an exception to this rule, as he delivers one of his finest performances as Vincent.
As the illegitimate child of Sonny, Vincent feels as though he has a lot to prove.
Boosted by Garcia’s Oscar-nominated performance, Vincent is a fascinating character. As the illegitimate child of Sonny, Vincent feels as though he has a lot to prove when taking his first steps into the family business. He also inherits his father’s fiery temper, despite never having known him. Vincent’s romantic pursuit of his own cousin is one of the most uncomfortable elements of Part III, but this just creates one more riddle in an interesting new character.
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5 The Godfather Part III Enhances The First Two Movies
There Are Several Thematic Links Between Michael’s Story And That Of His Father
Francis Ford Coppola and Mario Puzo didn’t want to call the third movie The Godfather Part III, as they saw it more as an epilogue to the previous two movies than a brand-new story. When Part III is viewed with this in mind, it reveals a lot of thematic and aesthetic parallels to the original Godfather duology which make them look even better in hindsight.
Francis Ford Coppola and Mario Puzo didn’t want to call the third movie
The Godfather Part III
, as they saw it more as an epilogue.
In the same way that Vito’s backstory in The Godfather Part II sharpens the contrast between his journey and Michael’s, Part III highlights even more differences between Michael and his father. Vito builds his reputation by serving his community and his family, but Michael is more interested in himself and his warped idea of his legacy. Michael’s death is also a tragic reflection of his father’s final moments. Both men die in a garden, but Vito has the joy of playing with his grandson, and he is mourned by hundreds. Michael dies alone, without Kay, his children or his siblings.
4 Part III Has A Few More Humorous Moments
The Godfather Has A Few Laughs To Balance Out The Tragedy
The Godfather movies are colored by Francis Ford Coppola’s serious, somber tone. Part III is similarly intense, but this atmosphere is punctuated by a few moments of levity which serve to humanize the characters and make the tragedy a little more relatable whenever the plot threatens to get too complicated. Al Pacino is an underrated comedic actor, and he shows flashes of this humor in The Godfather Part III.
Michael’s muted reaction to seeing Vincent biting Joey Zasa’s ear is funny, as is Vincent’s reaction to seeing a similar scene in the opera.
Although The Godfather Part III is anything but a comedy, it can get one or two laughs. Michael’s muted reaction to seeing Vincent biting Joey Zasa’s ear is already funny, but the callback during the opera, when Vincent looks strangely pleased to see one of the characters also being bitten, is a great punchline. Al Pacino and Diane Keaton’s lighthearted dynamic as they explore Sicily seems plucked from a romcom. It’s a tonal shift, but it shows the real love that still exists between them.
3 The Godfather, Coda Improves Part III
Coppola’s Small Changes Refine The Whole Movie
30 years after The Godfather Part III was released in theaters, Francis Ford Coppola released his own director’s cut, titled The Godfather, Coda: The Death of Michael Corleone. The title alone highlights how this cut represents Coppola’s original vision for Part III as an epilogue. There are several minor changes that The Godfather, Coda makes to the theatrical cut of The Godfather Part III, although there’s nothing too surprising.
People who didn’t like
Part III
may not have seen
Coda.
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One of the biggest changes Coppola makes is that he fades to black before showing Michael’s death in Coda. This is an interesting choice considering the title, and it suggests that Michael’s death is more spiritual and emotional. Michael’s “death” could take place when he relinquishes his title to Vincent, when Mary dies, or much earlier than either of these events. People who didn’t like Part III may not have seen Coda. The small details could make a big difference to some.
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2 The Operatic Finale Is Immensely Satisfying
The Godfather Part III Reaches A Superb Climax
Among the most common criticisms directed toward The Godfather Part III is that the plot is convoluted and lacks momentum. This certainly doesn’t apply to the finale, once the Corleone family take their seats for Anthony’s debut. Many of the movie’s weaknesses fall away during the third act, as Francis Ford Coppola delivers a show-stopper which is finally worthy of the first two movies.
The Godfather Part III
could be described as two hours of exposition and 40 minutes of payoff.
The interweaving between the opera and the Corleone family’s assassinations taking place all over Italy mimics the finale of the first Godfather movie. The added layers of Mosca’s attempts to kill Michael and Mary’s heartbreak arguably make Part III‘s ending even richer. The Godfather Part III could be described as two hours of exposition and 40 minutes of payoff, but the payoff is so engaging and so ingenious that it makes up for most of the movie’s faults.
1 Michael’s Remorse Is The Perfect Conclusion To His Arc
Part III Shows The Tragic Repercussions Of Michael’s Actions
The first two Godfather movies show Michael’s journey from being uninterested in the family business to taking on the title of Don Corleone from his father and becoming even more ruthless. Part III shows the effects that a violent lifestyle can have on someone who initially shows reluctance. Unlike Sonny, Michael doesn’t seem like a natural successor at first. He lets his anger consume him, and it’s too late for him to turn back time once he begins feeling remorse over Fredo’s death.
For all the movie’s faults, it wraps up Michael’s story superbly.
The Godfather‘s Michael Corleone is an iconic movie character, and Part III brings his story to a close. For all the movie’s faults, it does this superbly. As Michael is left to die alone, the consequences of his actions catch up with him, and he has nobody else to blame for losing Fredo, Kay, and Mary. The Godfather Part III offers Michael no redemption. He confesses to his sins, but he isn’t cleansed.
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6/10 8.3/10 The Godfather Part III rCrimeDrama
The Godfather Part III is the third and final film in Francis Ford Coppola’s Godfather trilogy. The film again focuses on Michael Corleone, who is now in his 60s and looking for his replacement as the head of the family business. While still getting favorable reviews upon release, the film is often considered a significant drop in quality compared to its predecessors.
Director Francis Ford Coppola Release Date December 25, 1990 Studio(s) Paramount Pictures Writers Francis Ford Coppola Cast Al Pacino , Andy Garcia , Diane Keaton Runtime 142minutes Budget $54 million Expand
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Category: Entertainment