The Godfather, Part III

“Just when I thought I was out, they pull me back in!”

This line, uttered by Michael Corleone (Al Pacino, reprising his role yet again) perfectly embodies the themes that Coppola is attempting to capture here: a man who wants to buy redemption and forgiveness, but cannot escape his criminal lifestyle. Sixteen years after the events of the second film, he is especially troubled over the murder of his brother Fredo, which he ordered. He is trying to care for his brother Sonny’s illegitimate, hotheaded son Vincent (Andy Garcia), who might inherit Michael’s title and powers after he dies (he is battling diabetes). He is also dealing with the Vatican, as worlds collide when the filmmakers use stories ripped straight from the headlines at the time involving the death of Pope John Paul I, and corruption inside of the Catholic Church.

Meant to be viewed as more of an epilogue to the story told by the previous two films, Part III is at its strongest when visiting the toll Michael’s past has taken on him, and the truth that there is no escaping it. Michael is seeking to prove to Kay (Diane Keaton) that he is a changed man, and the best scenes are between the two of them, where he declares a truce in beautiful Sicily. But she knows better, knowing all the horrible things he’s done. The music by Carmine Coppola is beautiful, as is Gordon Willis’ cinematography. The performances are mostly strong, especially Pacino, Shire, and Keaton.

Unfortunately, Coppola made a poor choice when it came to casting his own daughter, Sofia, in the role of Michael’s daughter Mary—and the accusations of nepotism are not unfounded. Winona Ryder was originally intended for this role, but it would likely have made no difference; the writing for the character feels uninspired, and the performance is wooden. Her father disapproves of her incestuous relationship with Vincent, and who can blame him? Yet the director inexplicably burdens us with this completely unnatural subplot.  This film is attempting to put family front and center once more, and focus on themes such as the sins of the father, yet the trilogy capper fumbles if key characters are not convincing.

Some scenes feel as if there was dubbing used in the characters’ interactions, and a few feel unnatural. Additionally, the climax is clearly trying to effectively mirror the first film’s famous baptism massacre, but the execution fails because it is so confusing; you cannot tell which character is where, etc. The final shot of the film is also an attempt to replicate the death of Brando’s character in the rose garden, but it feels perfunctory and awkward as well.

All of this is not to say that The Godfather, Part III is a terrible film; it is simply the weakest in the trilogy. The first two moved along at a steady clip and told captivating stories. Not so here; there is no real sense of momentum, character motivations simply don’t make sense, and some scenes are edited clunkily. Still, there are some good scenes here, most of the performances are great, and Michael’s tragic, Shakespearean arc is well-told, despite its flaws.

Rated R

2 hours, 41 minutes