The Godfather, Part III Reviews
However, this film is usually judged in comparison to the greatness of The Godfather I and Godfather II and not for its cinematographic merits. True, it is not comparable to its predecessors, but still has a solid history that rivals that of previous films but lacks the subtle narrative that plunged us into the complexity of the plots and characters that presented us, but still Thus, the story is complex and deep and teaches us how Michael Corleone, tired of his life as a mafia leader, tries to rectify himself in some way by his actions and try to ensure that his family is protected under the legalization of it.
Despite this, there are parts in the film that equally take away the realism that previous releases had given us and that is mainly the biggest mistake: The unrealism and incoherence present in almost the entire film in many scenes. However, the film is still strong in its message and in the allegory it uses. The moment of the climax is just as well achieved as those of previous films, mixing the ups and downs of music with the murders and the same opera and the voice of Tony Corleone to add a more tragic sentiment to the end to come.
Finally, it seems that the decline of quality (always compared to its predecessors) coincides with the decline of Michael Corleone as the Head of the Family and in turn, giving Vincent the head of the family injecting "new blood" to the Corleone family and the reference to the previously seen with Vito and Michael reminds us that we are still seeing a Godfather film and that despite not being so good, is still, undoubtedly, a great film that gives a great closure to one of the best trilogy in the history of cinema.
I think where this movie struggles is in some of the story structure, and other acting performances. The plot of the movie is easy to follow, but there are poor decisions made in how things are edited and how they flow that makes it frustrating and uneven. The final act gets very convoluted to the point where I almost started laughing at how they were dragging out the interplay of all these different murders. Don't even get me started on the lazy writing that decided it was a good idea for two characters, who are talking about cousins falling in love, coincidentally finding a puppet show that is about two cousins falling in love.
The poor decisions in the way the story is told is a problem, but possibly a bigger problem is the cast. No, I'm not just talking about Sofia Coppola. Sure, her performance is bad and it almost seems like she's been dubbed for every line. But are we really supposed to buy Joe Mantegna as an intimidating foe for the Corleones? Maybe I've seen Baby's Day Out too many times, but he is too broad and unconvincing as a villain. Andy Garcia is OK as the film progresses, but his early scenes as a loose cannon are a little over the top. Franc D'Ambrosio is totally flat as Anthony, and there are several other minor performances that bother me. Then there is the chorus line of returning cameos that almost turn this into a Where's Waldo game of "spot the characters from the better movies." I thought The Godfather: Part III was a decent enough finale to the trilogy, but it lacked some of the quality found in the first two chapters.
In each film Michael moves up a "rung" so to speak in the power structures he is trying to navigate. And those levels are reflected in the historical events that the writers chose to tie into the lives of the Corleone family. Moving up from organized crime in the 1st, politics in the 2nd, and religion in the 3rd. Michaels goes from taking over the criminal underworld in order to protects his family in the first, outmaneuvering a senate sub-committee threatening his power in the second, and contending with the prospect of redeeming his soul in the third. In the first the family empire moved their power center to the mob-made town Las Vegas, in the second he sought to be a part of a deal with the Cuban government that would allow him to operate unimpeded their until Fidel Castro's revolution turns everything upside down, and in the third he attempts dealings with the Vatican in a bid to legitimately take control of the Immobillaire real-estate company in keeping with that jumping between spheres.
At the end of the first film Michael orders the death of his brother in law
Todo lo que volvió genial al Padrino la parte 3 se encargó de aniquilarlo; sin embargo las brillantes actuaciones de Al Pacino y Andy Garcia pueden compensarlo.