After a break of more than 15 years, director Francis Ford Coppola and writer Mario Puzo returned to the well for this third and final story of the fictional Corleone crime family. Two decades have passed, and crime kingpin Michael Corleone, now divorced from his wife Kay, has nearly succeeded in keeping his promise that his family would one day be “completely legitimate.” A philanthropist devoted to public service, Michael is in the news as the recipient of a special award from the Pope for his good works, a controversial move given his checkered past. Determined to buy redemption, Michael and his lawyer B.J. are working on a complicated but legal deal to bail the Vatican out of looming financial troubles that will ultimately reap billions and put Michael on the world stage as a major financial player. However, trouble looms in several forms: The press is hostile to his intentions. Michael is in failing health and suffers a mild diabetic stroke. Stylish mob underling Joey Zaza is muscling into the Corleone turf. “The Commission” of Mafia families, represented by patriarch Altobello doesn’t want to let their cash cow Corleone out of the Mafia, though he has made a generous financial offer in exchange for his release from la cosa nostra. And then there’s Vincent Mancini, the illegitimate and equally temperamental son of Michael’s long-dead brother Sonny. Vincent desperately wants in to the family (both literally and figuratively), and at the urging of his sister Connie, Michael welcomes the young man and allows him to adopt the Corleone name. However, a flirtatious attraction between Vincent and his cousin, Michael’s naïve daughter Mary develops, and threatens to develop into a full-fledged romance and undo the godfather’s future plans.
He was born in 1939 in Detroit, USA, but he grew up in a New York suburb in a creative, supportive Italian-American family. His father was a composer and musician Carmine Coppola. His mother had been an actress. Francis Ford Coppola graduated with a degree in drama from Hofstra University, and did graduate work at UCLA in filmmaking. He was training as assistant with filmmaker Roger Corman, working in such capacities as soundman, dialogue director, associate producer and, eventually, director of Dementia 13 (1963), Coppola’s first feature film. During the next four years, Coppola was involved in a variety of script collaborations, including writing an adaptation of This Property is Condemned, by Tennessee Williams (with Fred Coe and Edith Sommer), and screenplays for Is Paris Burning?, and Patton, the film for which Coppola won a Best Adapted Screenplay Academy Award. In 1966, Coppola’s 2nd film brought him critical acclaim and a Master of Fine Arts degree. In 1969, Coppola and George… read more
I agree with Coppola in that Sofia's role was real, it wasn't a grandiose performance because that's not what the role called for. There's something very charming about her innocence and naivete that make it a heartbreak to see Pacino deprived of her in the end. Also, it would have been great if Puzo and Cuppola would have worked out the Godfather IV, the ideas he fleshed out in the commentary really had me goin
It's true that Sophia Coppola is miscast and some characters (like Zaza and Altobello) come across as gangster charicatures. Further, the whole papal story labours that gradually ascending involvement of the Corleone family in the world of crime that was dealt with more subtly in the first films. But the director's vision here remains unmistakable and chilling: our evil deeds live with us, and damn us to our deaths.
SPOILERS read reviewThe Godfather Part III could have been this epic spectacular finale to the whole Godfather franchise, not that it had to be a fantastical finale in the vein of Star Wars and Lord of the…