Just when I think I'm out, they pull me back in

Rating: 8/10 (17 February 2006)

Frequently attacked and constantly under-appreciated, The Godfather, Part III is often, and unfairly, referred to as one of the biggest disappointments in the history of cinema. When comparing  and I suppose a comparison is inevitable  The Godfather, Part III is certainly not quite as strong as the first two films, both of which are classic masterpieces, practically flawless, to be found in any respectful list of all-time best movies. It was largely a failure both commercially and critically (being nominated for seven Oscars but receiving none). Nevertheless, Part III is a fantastic drama, as good a crime drama as Scorsese's 'Goodfellas', which was released that same year and received much more critical acclaim; certainly the last great film Francis Ford Coppola had directed yet (hopes for 'Youth Without Youth', which has a late 2006 release date). Just like The Godfather, Part II achieved greatness by not trying to recapture the original but being an entirely separate and unique creation, so Part III is a separate creation that stands by its own right, and while it's a continuation of the first two films, it does nothing to subtract from their greatness as some sequels do. The Godfather can work perfectly as a single film, as a two-parter, or as a trilogy; it's a wonderful saga either way.
In many ways, The Godfather, Part III, is closer in its spirit to the first film than to the second. International affairs take second place to character development and human insight. Part III, however, focuses on the character of Michael Corleone deeper than any of the other films. It's debatable whether or not Al Pacino's performance here is stronger here than in Part II  it's clear that he's more experienced and mature an actor than he was in 1974, though he may have lost just a bit of his edge. But while in Part II we saw Michael as a decent man gradually turning into a monster, all the while focusing on his life in comparison with his father, Part III delves more deeply into his soul; the influences of Shakespeare and Sophocles are stronger than ever before, as Michael turns into a tragic hero in the classic Greek sense of the words, a man with, ultimately, good intentions, brought down to his tragic end by fate and by his own flaws. Michael is more human and more pitiable in Part III than ever before, and Pacino is certainly up to the task. Comparisons to Vito are certainly there (watch Michael talk some sense into Vincent, just like Vito did to Sonny in the first film) but they're no longer the focus of the film; this film is about Michael, and so Pacino's performance here is more impressive than in the first two parts.
The rest of the cast is fantastic (although there aren't any actors in the caliber of Brando, De Niro, Caan or Duvall  who was supposed to be in the film but backed out), but other than Diane Keaton and Talia Shire, who reprise their roles from the previous films excellently, the real revelation here is Andy Garcia, who plays Vincent, illegitimate son of Michael's eldest brother Sonny, and friend-of-the-family Lucy Mancini (the affair between Lucy and Sonny is referred to very briefly in the first film, although it plays a large and important part in the original novel). The role of Vincent Corleone is certainly the strongest in Garcia's career, and his only Oscar-nominated one; Vincent is wonderfully reminiscent of his father (played by James Caan in the first film), and he plays an important part of shedding light on the character of Michael Corleone, while never quite stealing the show from Pacino, clearly the center of the story. Also commendable are performances by George Hamilton, Joe Mantegna, Bridget Fonda and Eli Wallach.
There has been much debate about Sofia Coppola's performance as Michael's daughter Mary, so here's my angle on it: it's quite bad indeed, and Sofia proves beyond doubt that she's not an actress. With a lesser cast around her, it wouldn't seem as bad, but next to actors like Pacino, Garcia and Keaton, Coppola seems totally out of place. However, it does little to hurt the film; Mary's part in the film is quite big, but she's mainly there to shed light on Michael and Vincent, and Sofia's less than mediocre performance is ignorable. Thankfully, she quit acting afterwords, and moved on to directing, a field in which she shows much more promise; in fact, the young Miss Coppola shows signs of being one of the most promising young directors of the new millennium.
The Godfather, Part III is a fascinating and thrilling tale, and the last forty five minutes are as gripping as any scene in the first two films; Coppola's directing is as inspired and sensitive as it ever was before, and the dialog is all spotless, believable and captivating. The reference to the death of Pope John Paul I, who died only 33 days after being indicted and whose death remains something of a mystery, is a nice touch, which helps create the sense of realism that was an important aspect of the first two films. It's not as timeless a masterpiece as The Godfather and The Godfather, Part II, but if you loved the first two films, you should by all means watch this third installment, too.