![]() In cinemas Dec 5 and on VOD in the UK Dec 8. The consensus that The Godfather Part III doesn’t live up to the grandeur and smarts of The Godfather and The Godfather Part II remains fair – but this is still a world well worth revisiting. Elsewhere, and most notably at the film’s close, Pacino sinks deeply into the quiet suffering of Corleone, the once-reluctant gangster who carries with him burdens he’ll never shake. A scene in Sicily between him and Diane Keaton as Corleone’s ex-wife Kay brings out the best in both. The aura of disappointment and regret that swirls around his character later in life lends the film a maudlin tone that grounds it amid the noise and the gunfire. ![]() Coppola sampled and reworked many of the big beats of the first two films for the third: the big party at the start, a meditative trip to Sicily, the father-son antagonism, an operatic killing on the steps of a grand building, an assassination in the bustle of Little Italy. It allows for a soapy pleasure, but it’s not entirely convincing. It completes the story of Michael Corleone, a Mafia kingpin who tries to legitimize his criminal empire. Coppola and writer Mario Puzo drew heavily on a couple of real events – the short-lived papacy of John Paul I, and the suicide of ‘God’s Banker’ Roberto Calvi – to suggest that crime, religion and the boardroom co-existed in Corleone’s world. Mario Puzo's The Godfather, Coda: The Death of Michael Corleone is a 2020 director's cut of The Godfather Part III, the 1990 American crime film written by Mario Puzo and Francis Ford Coppola, and directed by Coppola, which wrapped up the story of The Godfather saga. It also adds another dimension to the father-daughter tension at the film’s core – a tension stoked by Mary’s romance with her hothead cousin Vincent (Andy Garcia), the new Corleone on the block, just as Michael himself was way back in the first film.Įlsewhere it’s the film’s corporate-gangster high jinks – served with a side order of Vatican corruption – that have aged less well. There’s an unpolished, needy but powerful presence to her that suits the idea of this innocent rich girl put on a pedestal by her father’s infamy. Young Coppola has an awkward, child-adult presence that’s still one of the film’s most fascinating elements. Sofia Coppola – now a celebrated director herself, then just her father’s teenaged daughter – took a bashing for her performance as Mary, the daughter of crime boss Michael Corleone (Al Pacino). What sticks out now, 30 years on, is how unfairly one member of the cast was treated at the time of the film’s release. Coppola, now 81, has tinkered mainly with the beginning and end – throwing us more directly into the former and making the latter less final (the changes are significant but not revolutionary). With these changes and the restored footage and sound, to me, it is a more appropriate conclusion to ‘The Godfather’ and ‘The Godfather: Part II’ and I’m thankful to Jim Gianopulos and Paramount for allowing me to revisit it.Filmmaker Francis Ford Coppola has stepped back into the cutting room to re-edit (and rename) his 1990 crime epic The Godfather Part III, the final part in his century-spanning trilogy about a New York Italian-American mafia family. “For this version of the finale, I created a new beginning and ending, and rearranged some scenes, shots, and music cues. Whoever approaches Michael about the meeting, Vito explains, will be the traitor within the family. ![]() “‘Mario Puzo’s THE GODFATHER, Coda: The Death of Michael Corleone’ is an acknowledgement of Mario’s and my preferred title and our original intentions for what became ‘The Godfather: Part III,’” said Coppola. In 1955, Vito warns Michael that Barzini will likely attempt to assassinate Michael under the pretense of negotiating peace between the families, using a disloyal contact within the Corleone regime. The film will also debut in select theaters on December 4. Mario Puzo’s THE GODFATHER, Coda: The Death of Michael Corleone will be available exclusively to own on Blu-ray and Digital Decemfrom Paramount Home Entertainment. This new version, entitled Mario Puzo’s THE GODFATHER, Coda: The Death of Michael Corleone, achieves Coppola and screenwriter Puzo’s original vision for the finale, which has been meticulously restored for the finest presentation of the Corleone saga’s last chapter. Just in time for the 30th anniversary of The Godfather: Part III, director/screenwriter Francis Ford Coppola has re-edited the final film in his epic Godfather trilogy. ![]() The Godfather, Coda: The Death of Michael Corleone
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