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The Godfather :: Story
The Godfather (1972)

Director:
Francis Ford Coppola

Screenplay:
Francis Ford Coppola and Mario Puzo (based on his novel)

Cast:
Marlon Brando, Al Pacino, Diane Keaton, James Caan, and Talia Shire

Overview:
This is the Mafia movie--along with its two sequels--against which all other pale. The story of Mafia Don Corleone's (Brando) rise to power and ruthless life is depicted in an epic film, well acted, directed, and stunningly photographed. An outstanding, if mannered, performance by Brando won him the Oscar for Best Actor. The film also won for Best Screenplay and Best Picture but not Best Director. There is also an outstanding score by Nino Rota, who did most of the music for Fellini's pictures.
This movie was a family affair in more ways than one. Talia Shire is Coppola's sister and the infant in the baptism scene is Coppola's daughter, Sofia, who also later appeared in The Godfather, Part III.

 
The Godfather II (1974)

The Godfather, Part II (1974) of the Godfather trilogy continues the saga of the Corleone Family, serving as both a prologue and a sequel, extending over a period of 60 years and three generations. The script was again co-authored by director Francis Ford Coppola and Mario Puzo, the author of the popular novel about American organized crime. Many critics believe this film sequel, at a lengthy three hours and twenty minutes, is a superior improvement over the original film, although some of it is confusing and leaves questions unanswered.

The film is masterfully intercut back and forth between two parallel stories: the prologue story (about one-quarter of the entire film) to the sequel, contrasting the two eras and their protagonists.

The prologue portion follows the background story of the rise of youthful Don Vito Corleone (Robert DeNiro replacing Marlon Brando) to Mafia chief in the early 1900s in the Little Italy section of New York City. About fifteen minutes of the prologue portion is in Sicilian with English sub-titles. The major portion of the sequel begins in 1958 - about three years after the conclusion of the first film (The Godfather, Part I (1972)) and follows the career of Corleone's son Michael (Al Pacino again) from his patriarchal prime to his decline a year later. The saga leads to the inexorable passage of 'sins' from the immigrant father to his modern-day son.

Similar themes from the original are carried over and arise in Part II: revenge, intrigue, betrayal, alliances, violence, the corruptive influences of power, and devoted loyalties to the family. Unlike the first film, the forbidden words "Mafia" and "Cosa Nostra" are each mentioned once - in one of the Senate Hearings scenes. The film contains fewer deaths, though - a total of 16. But the tragic film is more somber with Gordon Willis' un-nominated cinematography highlighted by sepia-toned, golden amber, and darkish tones.

The film was nominated for eleven Academy Awards and won six: Best Picture (for producer/director Francis Ford Coppola), Best Director, Best Supporting Actor (Robert DeNiro in a Sicilian-speaking role), Best Adapted Screenplay (co-authored by Mario Puzo and Francis Ford Coppola), Best Art Direction/Set Decoration, and Best Original Dramatic Score (Nino Rota and Carmine Coppola). It was a three Oscar win for Coppola. Five of the other six un-rewarded nominations were for acting roles: Best Actor (Al Pacino), Best Supporting Actor(s): (Michael Gazzo and Lee Strasberg), and Best Supporting Actress (Talia Shire). The Godfather, Part II was the only sequel in Academy history to win a Best Picture Oscar.

 
The Godfather III (1990)

Eighteen years after the first screenings of The Godfather, the long-awaited third and final chapter reached theaters. That it proved unable to fulfill expectations was a predictable - if somewhat disheartening - result, given the sixteen year buildupThe Godfather Part III is a good movie, with moments of rare power, but it is not a great one - a reason why many fans of the series have voiced their disappointment.

Oscar nominations for this film were probably based more on the Godfather name and reputation than on the particular merits of this production. Part III became the first Godfather not to take best picture and, despite a deserving performance, Al Pacino's efforts were not acknowledged. The lack of awards enthusiasm perhaps reflected a general opinion.

The story opens in 1979 New York, some twenty years after Michael Corleone (Pacino) gave the order to have his older brother killed. His children Mary (Sofia Coppola) and Anthony (Franc D'Ambrosio) are now grown. Mary is devoted to her father; Anthony is more wary. He loves Michael, but wants nothing to do with "the business", even though all illegal investments have been divested. The Corleone family is legitimate.

As with the other two movies, this one begins with a family gathering. The occasion is the presentation to Michael of the Order of St. Sebastian - the highest honor the Catholic Church can bestow upon a layman. For a Corleone to receive it is the ultimate mark of respectability.

Michael is not so easily free of his former underworld allies, however. When he makes a $600 million play for the international conglomerate Immobiliare, they want a piece of the cake, seeing an opportunity to launder their money. Michael's refusal at a meeting of dons stings more than a few of his old friends, and brings down a bloody retribution.

The next Don Corleone - Vincent Mancini (Andy Garcia), Sonny Corleone's boy - is awaiting his opportunity. He possesses a ruthlessness and taste for violence that Michael has long since lost, and as the Immobiliare stakes escalate, the old head of the family recognizes the need for youth and strength. The passing of the baton, however, carries with it a tragic price.

One of the most obvious problems with The Godfather Part III is that it covers little new territory. The plot is highly derivative of the original. This time, Michael fills Vito's role, and Vincent stands in for Michael. This method of too-obvious parallelism might have been more effective had Vincent's character been better developed. That isn't the case, however, because Michael is still the focal point.

As always, Pacino is a delight to watch. The third time around, he brings a mournful weariness to Michael Corleone. This is a man who has paid for all the wrong choices. Memories haunt him like ghosts that can never be exorcised. The emotional toll is shown in the stoop of his shoulders and the thickness of his voice.

Family, as has ever been the case, is crucial to Michael. His children are his reason for living. In his words, "The only wealth in this world is children. More than all the money and power on Earth, [they] are my treasure." He says to Mary that he would burn in hell to keep her safe. It is a prophetic statement.

Robert Duvall is missed. It's impossible not to feel the vacuum created by his absence. George Hamilton's B.J. Barrison is a one-dimensional necessity of plot, not a "real" character. At least the decision was made not to replicate Tom Hagen in Barrison. Hamilton is given little more to do than stand in the background and speak a few lines.

Another unfortunate casting decision was the choice of Sofia (daughter of Francis) Coppola as Mary (Winona Ryder, the director's preference, was prevented by fatigue from appearing). Coppola is pleasant enough to look at, but her range is limited, and that lack of ability diminishes several emotionally-charged scenes. This is the first Godfather to have a major role defined by a poor performance.

One thing that is not inferior, however, is Francis Ford Coppola's directorial flair. The final half-hour, with its interweaving of diverse-yet-related plot lines, is choreographed with the skill of a master. There are moments of The Godfather Part III that shine with the brilliance of the previous two films.

Despite its missteps, The Godfather Part III packs enough of a punch to deserve a place alongside its predecessors. This is no poorly-conceived curiosity. Not only does the film bring Michael Corleone's story to a conclusion, but it remains faithful to the form and style of parts I and II. Taken as one grand epic, with this chapter included, the Godfather movies represent one of the most solid, emotionally-rich tales ever committed to film.

 


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