Der Pate 3 (1990)

Der Pate 3: Directed by Francis Ford Coppola. With Al Pacino, Diane Keaton, Talia Shire, Andy Garcia. Follows Michael Corleone, now in his 60s, as he seeks to free his family from crime and find a suitable successor to his empire.

“Being an optimistic fellow I wanted to enjoy The Godfather Part III the first time I saw it – this was easy, since its a competent piece of film making, generally well paced, acted, itu0026#39;s coherent, Al Pacinou0026#39;s in it, Coppola has made this film from A to Z and on its own terms the film doesnu0026#39;t have any inexcusable flaws. (Not even, I might add, the notorious Sofia Coppola; sheu0026#39;s bad, but her performance is benefited by the character sheu0026#39;s playing, which is also weak). So for a long time I was one of those guys going u0026quot;Hey, Godfather part III isnu0026#39;t as bad as everyone says. Sure, its not as good as the first two but not many movies are!u0026quot; Later in life, presumably with heightened standards and a better sense of criticism, I started to suspect that the opposite could be true – that part III was really nowhere near as good as Iu0026#39;d recall – and after seeing all three films pretty much back to back I have to be honest (an approach I think wouldnu0026#39;t hurt the more enthusiastic defenders of this film) and conclude that The Godfather Part III, despite certain qualities, simply doesnu0026#39;t work.u003cbr/u003eu003cbr/u003e(Excluded passage due to word limit; concerning how Coppola did the film for the money, and that it actually makes the film a little easier to appreciate)u003cbr/u003eu003cbr/u003eI think the film really, on a whole, is perhaps not u0026#39;badu0026#39;, certainly not horrible, but definitely a failure. The plot is underdeveloped and not engaging – Michael Corleone suffers from guilt. Its not unreasonable to say he did that at the end of Part II already. Where does his search for redemption lead him? Do u0026quot;theyu0026quot; really pull him in again? Does his character do or say anything really memorable? Once or twice. But the script really is a long filler-session. And while everybody seems to just automatically praise Pacino because, well, heu0026#39;s Pacino I donu0026#39;t think his performance in this film is particularly good either, at least not by his merits. Heu0026#39;s a great actor, and this is as fine a performance as any other heu0026#39;s made, but when you consider how truly versatile Pacino can be (compare Godfather part II with Scarface, with Serpico, Devilu0026#39;s Advocate, you name it, heu0026#39;s right there in character) its a disappointment that the aged Michael Corleone has turned into… well, Al Pacino. Obviously the character is not the same man that he used to be, but I never once really believed that I was watching Michael Corleone. He looked, and acted, too much like Al Pacino.u003cbr/u003eu003cbr/u003eNot to mention Andy Garcia being nothing more than Andy Garcia, Joe Pantanglio, Eli Wallach, Talia Shire in a strangely awful performance (sheu0026#39;s not a bad actress at all, but whatever happened here?). And of course Sofia Coppola; she isnu0026#39;t the crucial problem, but in the end she does become responsible for a lot of misfiring. The only one still doing a prime job is Diane Keaton as Kay – truly an unsung hero in these films, and to me one of the main reasons the drama work – and the filmu0026#39;s best scenes were the oneu0026#39;s she shared with Pacino. Why? Because then I felt like I was even watching a Godfather movie.u003cbr/u003eu003cbr/u003eMuch of everything else simply doesnu0026#39;t work. Whereas the original films were subtle and ambiguous, part III filters the story with melodramatic punches that are un-inspired and obvious. Michaelu0026#39;s son, played by Franc Du0026#39;Ambrosio, seems taken from Days of Our Lives and so many of the questions we ask ourselves – what does he remember from his childhood? What does any of the characters feel about Michaelu0026#39;s marriage in Sicily? Did Tom Hagen ever move to Las Vegas? etc – are left completely by the road, as if Coppola truly isnu0026#39;t interested in telling this story. There are instead near-insulting reminders to the audience that the other two movies still exist (like the pointless scene where Michael have kept the drawing Anthony left at his pillow when he was nine or so; u0026quot;I remember thisu0026quot; he smiles, though Iu0026#39;m not sure if we are to understand this as u0026quot;I also remember they shot up the bedroom that same nightu0026quot;; once again, it seems Coppola simply forgets his own story). There are also awkward attempts at creating dramatic highlights in line with the horse-head scene and that very shooting in the beginning of Part II, involving a shooting during a parade in Little Italy and a stupid and ugly scene involving a helicopter. Making a Godfather sequel formulaic is truly a depressing insult to the originality of the first two films. The attempts Coppola takes on the Vatican are also pretty flat when you think about how Italian cinema has been doing this for half a century.u003cbr/u003eu003cbr/u003eThereu0026#39;s no reason to watch this film have you not seen the first two. And thereu0026#39;s really no reason to watch it if you have seen them either. When you think about it, I donu0026#39;t see why the filmu0026#39;s few merits are worth talking about. Movie newbies having seen Part I and II will naturally see III too, and I think many of them will come to the same conclusion. Itu0026#39;s not all bad, but so what. It simply doesnu0026#39;t work very well.”