He’s a generation removed from his father’s Little Italy territory — now run by the John Gotti-esque Joey Zasa — and he has a savvy publicist (Don Novello) to handle all thorny press inquiries. The ending is substantially new. The title’s a nice change. She was not so sure of herself and is kind of quiet. Rewatch those earlier films in relation to Coppola’s somewhat revised third film, now in theaters (where allowed) and streaming Dec. 8, and you’ll experience confident, big-budget studio filmmaking as it was possible nearly a half-century ago. I have always liked Godfather Part III. Previously, this scene landed after the Vatican-sponsored ceremony and party feting Michael for his charitable works. Coppola’s revision, which runs a shorter 157 minutes, resets expectations immediately by placing its subtitle not only in quotations, but separate from the classic Godfather marionette logo (a first for the series). Coppola has tinkered with the films before. He whisks Kay off on a tour of his family’s home village, and summons the memory of the man she once loved (a man viewers barely glimpsed in the first movie). In honor of its 30th anniversary, a new version, re-edited by Coppola himself, will hit select theaters December 4th as a limited engagement. This constitutes growth on the Don’s behalf. Mary is what happens when a father projects a false sense of principle. And that’s why the somewhat altered “Godfather Coda” can’t fix what’s wrong at the story’s center: Turning Michael into a softer, more sympathetic tragic figure feels like a cop-out — a deal made with the feds, or at least the studio heads. The coda is a perfect summation of his twin masterpieces. He is virtually untouchable. Never was there a sequel so unlucky in following such singular predecessors. It is an American tale. So the movie doesn’t work a miracle in this new version. Coppola and Puzo plotted it out sensibly. To do so, he must cede control of the family to his nephew Vincent (Andy Garcia), and hope for the best. Instead of the wordless glide through the now-empty Corleone home on Lake Tahoe, full of bloody memories of misdeeds past, “Godfather Coda” starts with Michael negotiating with the desperate Vatican banker played by Donal Donnelly. Coppola’s revisions begin at the beginning. Diane Keaton and Al Pacino (with George Hamilton, rear) star in "The Godfather Coda: The Death of Michael Corleone," in limited theatrical release Dec. 4 and streaming Dec. 8. A look at what ‘The Godfather, Coda: The Death of Michael Corleone’ salvages. The Godfather Part III is a 1990 American crime film produced and directed by Francis Ford Coppola from the screenplay co-written with Mario Puzo. Here’s what Cubs and White Sox fans said about returning to the ballpark — and what can be improved. A mondo 583-minute chronological edition of all three, with scenes cut from the original release versions, came out on VHS and laserdisc in 1992. As the deal is all but consummated, Gilday sheepishly laments, “It seems in today’s world, the power to absolve debt is greater than the power to forgive.” To which Michael retorts, “Never underestimate the power of forgiveness.”. Review; This was published 4 months ago. "It was like pulling on the thread of a sweater that annoyed you, and you end up re-knitting the whole sweater," the writer-director says. In “The Godfather Part III,” recut and retitled “The Godfather Coda: The Death of Michael Corleone,” flashes of greatness periodically illuminate a general, frustrating fog of not-badness. What Coppola accomplishes is less a magic act than an elegant threading of a needle. The latter appears to be negotiable. a) it's re-cut to be in chronological order and b) it has footage which wasn't in the movie versions Some of b) has the effect of "oh shit now that makes sense!" He begrudgingly sanctions Anthony Jr.’s opera career, and entrusts the Corleone Foundation to Mary. Godfather Part III recut, retitled and reissued this December! Indeed, that onerous title was the preferred moniker of both Coppola and The Godfather author Mario Puzo, who partnered with the director on the screenplays for all three films. As the action moves to Sicily, Michael pours on the charm. The storyline fixates on the cost of regaining an image of legitimacy, both Michael Corleone’s and Francis Coppola’s. Now, the … But viewers retain vivid memories of the man who once said, “That’s my family, Kay; it’s not me.” He had other plans. The much-maligned performance of Sofia Coppola — often touchingly unaffected as Mary, in love with her first cousin, Vincent — remains a diffident element in a movie rife with mixed blessings. After a string of disappointments, Coppola accepted Paramount Pictures’ un-refusable offer to create a sequel to “The Godfather” (1972) and “The Godfather Part II” (1974), critical and popular smashes as well as top Oscar winners. by Mike Lowery Sep 4, 2020, 10:51 am 19.2k Views Fans of “The Godfather” (and loathers of “The Godfather Part III”) are in for a treat – – to coincide with with the 30th anniversary of the film’s third and final instalment, Paramount Pictures have announced a re-release of the 1990 drama complete with a new ending. She is sheltered and, as an adult, helpless – incapable of navigating a world that is cruel beyond conception. At the end of “Godfather II,” his marriage ruined and having just ordered his brother’s murder, Al Pacino’s Michael Corleone transforms fully into a sinister hollow man. Coppola has refashioned the coda in “Godfather Coda” to focus on memories of Michael and his daughter only, followed by a death more obliquely suggested than realistically rendered. The pieces are there. The legendary … December 8, … If you buy something from a Polygon link, Vox Media may earn a commission. Could there possibly be a path to redemption for this self-made monster? It almost works. As he states in his introduction to the inelegantly titled The Godfather, Coda: The Death of Michael Corleone, the final installment was envisioned as an epilogue to the epic narrative of the first two movies. But even if he succeeds, he now knows “legitimacy” is an illusion. 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The two “Cotton Club”s are very different; “The Godfather Coda,” by contrast, involves small shifts and some intriguing tinkering, nothing less or more. Francis Ford Coppola’s newly-released cut of The Godfather Part III, namely The Godfather, Coda: The Death of Michael Corleone has introduced a new tonal shift to the trilogy as a whole. And rarely has a director tested the limits of reshaping his own material across multiple versions. We no longer spend any time at the Catholic ceremony honoring Michael for his quasi-legitimate charitable work. There are no surprises beyond the first 20 minutes of this version, save for the denouement, which denies Michael the release of death he received at the end of the previous cuts. The Michael of The Godfather, Coda has compartmentalized his business misdeeds. That’s a significantly changed and improved movie now, Questlove’s ‘Summer of Soul’ leads lineup for Doc10, the first Chicago 2021 film festival to venture back indoors, 10 movies for Mother’s Day: My mom says you should spend it with Gene Kelly. The recut opening dispenses with the footage of Michael's Lake Tahoe home, itself a throwback the infamous ending of The Godfather Part II. Rather than defang and truncate the first two Godfather films for network television in the 1970s, Coppola restructured them as one chronological saga – running seven hours and featuring loads of new footage – that allowed viewers a more straightforward perspective on the Corleone family tragedy. George Hamilton, in other words, as Michael’s legal eagle, is no Robert Duvall; he’s essentially a zero-gravitas science experiment. Though The Godfather Part III is seen as the weakest installment of the mobster crime series, director Francis Ford Coppola is officially getting a redo. See our ethics statement. The Godfather Part III is not only getting a recut but it's also getting a new title —a new, very long title, Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone, and is headed to theaters and digital platforms this December. The second film, especially, is a stunner — a tough-minded, grandly expansive portrait of American corruption. “That’s not going to happen anymore,” Keaton says, arguing the new edit gives Sofia Coppola’s performance more of a chance to shine. Francis Coppola has long wanted another crack at The Godfather Part III, looking to shorten it in places, and strengthen it in others, and change the title. Despite every attempt to go legit, to become respectable, the past cannot be silenced. The Godfather Part III has been recut — but is it an offer you can’t refuse? The film stars Al Pacino, Diane Keaton, Talia Shire, and Andy García, Eli Wallach, Joe Mantegna, Bridget Fonda, George Hamilton, and Sofia Coppola. The narrative familiarity wasn’t viewed as intentional, but rather as a sign of creative bankruptcy. The Godfather: Part III is being recut and re-released for its 30th anniversary, and this time it'll be a "more appropriate conclusion" to the trilogy, according to director Francis Ford Coppola. The passage of time does a lot of work in the film, and raises many questions: If the Corleone family is successful enough to buy a controlling share in the real estate company Immobiliare, what were they up to in the 1960s — i.e. Did they really avoid the lucrative drug trade that flourished throughout the Vietnam War and beyond? It’s strictly business, not personal, following the old Corleone ethos. He’s all nerve and no patience, and Garcia’s wonderful in the role. The new version shaves about five minutes from the original “Godfather III” running time of two hours and 42 minutes. A triumph of a revisitation -Coppola's recut breathes new life into his final Godfather film. Timeline: Suburban serial killer John Wayne Gacy and the efforts to recover, name his 33 victims, Column: A GED for college? In the 1980s, director Richard Brooks was approached by Paramount to try a third “Godfather” movie, when Coppola was still refusing the offer he ultimately couldn’t refuse forever. The opening images of the flooded Corleone compound in Lake Tahoe have been replaced with a low-angle exterior shot of St. Patrick’s Cathedral, an architectural, midtown antiquity dwarfed by its neighboring skyscrapers – which is jarring given that the original The Godfather Part III kicks off in Old St. Patrick’s Cathedral downtown in Little Italy. The Godfather Part III clocked in at 171 minutes; the recut is 14 minutes shorter. (She was always a director, not an actress, in the making.). The Immobiliare deal is complete, pending the formality of the Pope’s approval. This pursuit was clouded in the film’s previous incarnations, but, by leading with that Gilday scene (instead of the ceremony at the church, which has been excised entirely), it’s the solitary narrative thrust of The Godfather, Coda. So when Paramount announced earlier this year that Coppola had reworked 1990’s The Godfather Part III as The Godfather, Coda: The Death of Michael Corleone, there was reason to hope, based on previous successes, that the director had at last solved some of the trilogy capper’s nagging flaws. Paramount understandably balked at the notion of treating the first Godfather movie in 16 years as, in Coppola’s words, a “summation” instead of an event, but by releasing it as “The Godfather Part III” (on Christmas Day, no less), they were priming audiences and critics for a grand finale the filmmaker had no interest in delivering; ergo, much of the initial criticism of the movie, which was rushed through production to meet that prestigious release date, hammered the film for a slow-to-develop plot that felt like a retread of its immaculate predecessors. Five-time Oscar winner Francis Ford Coppola enjoys repairing his movies. Twenty years later, as Michael enters the final act of his life, he desires expiation. The Godfather, Coda: The Death of Michael Corleone premieres in limited theaters on Dec. 4; the re-cut arrives to Blu-ray and digital rental services on Dec. 8. So far he’s re-cut Apocalypse Now (1979) on two separate occasions, The Cotton Club (1984) once, and now he’s looking to repair The Godfather III (1990), a movie no one was happy with, most especially him. The Godfather, Coda: The Death of Michael Corleone premieres in limited theaters on Dec. 4; the re-cut arrives to Blu-ray and digital rental services on Dec. 8. “The Godfather Coda” settles, proficiently but without magic, for a less alluring era: New York circa 1979-1980, along with location filming in Rome and, once again, in Sicily. It is the third and final installment in The Godfather trilogy. To keep this topical, I've never seen GFIII given the reviews, A re-cut there might persuade me to have a look. He’s oddly jocular. The ending was chilling and perfect. If it could stand alone, if somehow The Godfather, Part III didn’t have to exist in the same world as two seminal masterpieces, this would be a great film for any other filmmaker. He has been tinkering with that for awhi… He believes he can reunite his family. The Polygon 2020 holiday guide But the final tale of Michael Corleone’s failed attempt at redemption is not allowed such freedom, and as the part of a larger whole, it’s undeniably inferior. The business may be settled, but for Michael, a man of ultimate conquest, the personal must be confronted. Besides, lightning had already struck twice with same crime family, the first time revitalizing the gangster genre, the second time with the reigning king of all sequels. There were always things to like about “Godfather III,” starting with Andy Garcia. He created fantastic illusions of 1940s New York in the first “Godfather,” and of 1917 New York in the second, along with Havana, Lake Tahoe and Sicily. But this is Michael’s story. The recut “Cotton Club” does some justice to the Black half of the storyline, blatantly marginalized in the release version. It seemed foolhardy, he later said, to “continue a story that had already ended.”, MPAA rating: R (for violence and language). From Aeschylus to Shakespeare to Arthur Miller, the answer has always been an emphatic “No.” But like all great tragedians, Coppola coaxes his audience into believing there exists a catharsis that could cleanse Michael of his sins and restore the family he brushed aside. Though he’d be thrilled if Kay remarried him, he’ll settle for her not dreading him anymore. I have always thought that it was a marvelous film even if it was the lesser cousin to the first two films. For a man who has done so much evil, this seems an impossible ask. Apparently, this is the title that Coppola always intended, but also one that Paramount did not approve at the time. Kay wants no part of this, but Michael, in a newfound show of vulnerability, allows her to exit a room on her own rather than shut her out. A 424-minute chronological version of the first two “Godfather” outings (without the intercutting between past and present) aired on network TV in 1977. I’m not going to bury the lede. the decade that sparked America’s fascination with the mafia (and inspired a bestselling book titled The Godfather)? In the introductory video to the recut “Godfather Coda,” director Coppola talks about what it meant to him to restore the original screenplay’s title, in order to ramp down expectations for a conventional sequel. Diane Keaton says Sofia Coppola's panned performance in The Godfather Part 3 is saved by The Godfather … But Mary, whose death is meant to break our heart, never registers as more than a frightened child. Ask Amy: Loved one is heartbroken over ex’s profession, Over 100 Republicans, including former officials, threaten to split from GOP, Internal emails reveal World Health Organization knew of sex abuse claims in Congo, Ask Amy: Retired teachers take on a grandchild, Israel hits Gaza with new airstrikes, Hamas fires off hundreds of rockets as fighting escalates with no end in sight, Former Chicago Bears head coach Dick Jauron sells Lake Forest town home for $699,000. Baseball fans are back with masks and social distancing. It was probably too much to ask: “The Godfather Coda” is nothing like the recent Coppola redux with “The Cotton Club” (1984), now known as “The Cotton Club Encore.” That’s a significantly changed and improved movie now, however flawed on the story level and in spite of some of the casting. The Vatican/mafioso entanglements remain murky and a little flat. Michael isn’t joking about “the power of forgiveness”. Just in time for the film’s 30th anniversary, Paramount will debut Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone. But what’s missing here is the sheer visual beauty of the first two “Godfather” films. When asked, Brooks declined. Michael’s in over his head, and when he sees the sharks circling he has no choice but to hit back in an old school fashion. But what, realistically, could be done to enhance Sofia Coppola’s awkward performance as Michael’s daughter Mary, or fill the void left by Robert Duvall when he turned down Paramount’s paltry offer to reprise his key role as Corleone family consigliere, Tom Hagen? Those hoping for The Godfather, Coda: The Death of Michael Corleone to be a revelation on the level of Apocalypse Now Redux, or a springboard to a fourth chapter in the saga, will be disappointed. Written by Coppola and Puzo in a collective sweat, in between losing bouts at the casino tables in Reno, Nev., the “Godfather III” dialogue keeps coming back to money worries, debts and obligations. In a way, this makes sense: she’s been lied to her entire life, and is romantically fixated on her cousin. Powered by JustWatch "The Godfather, Part III" continues the Corleone family history in 1979, as the sins of the parents are visited upon the children. And it is finished. The tweaks are interesting, even if they can’t do anything about larger narrative frustrations. No filmmaker has made better use of the Director’s Cut format than Francis Ford Coppola. Premieres: Dec. 4 in some theaters, where open; streaming premiere Tues. Dec. 8. Too many of the new characters are pretty pale, as written and acted, compared to their rough equivalents from the first two “Godfather” pictures. All the latest gaming news, game reviews and trailers. According to Peter Biskind’s The Godfather Companion, Coppola referred to the final shot of The Godfather Part II, wherein Michael sits in silence outside the Tahoe compound, as “the Hitler scene”. Coppola cuts directly to Michael’s meeting with Archbishop Gilday (Donal Donnelly), the overwhelmed, chain-smoking head of the Vatican Bank who desperately sells off the Vatican’s controlling shares in real estate conglomerate Internazionale Immobiliare to the Corleone family. My wife votes ‘One Day at a Time.’, CineYouth Festival: New Chicago filmmakers featured in worldwide showcase. This is the dramatic business Coppola and Puzo have chosen for Michael in this “coda,” and the film’s busy plotting finally serves a unified theme. The movie’s worth seeing just for the way Garcia smiles and says “Zasa!” as he takes care of the greedy mob thug played by Joe Mantegna, another standout. Despite the criticism levied at the film, it was nominated for seven Academy Awards, including Best Picture and Best Director. Ever since he volunteered to assassinate Sollozzo and McCluskey, Michael has treated life as a chessboard; he sacrificed his own brother to checkmate Hyman Roth (Lee Strasberg), and accepted the abhorrence of his wife, Kay (Diane Keaton), as collateral damage. Whatever the medium, some artists paint and move on; others return, obsessively, to the same canvas. Forgiveness. Just when you thought you were out, will the recut Godfather Part III pull you back in? With his crack team of production designers, and with the brilliantly daring, shadow-hungry cinematographer Gordon Willis (who shot all three movies), Coppola clearly relished the opportunity to recreate vanished eras on lavish budgets. In “The Godfather Part III,” recut and retitled “The Godfather Coda: The Death of Michael Corleone,” flashes of greatness periodically illuminate a general, frustrating fog of not-badness. This is followed by a fade-out in the Sicilian sun. What’s going on here? Some changes are tiny; the murder-by-eyeglasses shot, late in the action, is perhaps two seconds longer and 40 times bloodier than the one used in the original. And that’s the unfixable element of this film. Now here comes the Godfather Part III recut, retitled The Godfather, Coda: The Death of Michael Corleone. By Sandra Hall and Jake Wilson. The 1990 version ended with a montage of Michael, near death and recalling better times with his ill-fated daughter, Mary (Sofia Coppola, the director’s daughter), his ill-fated first wife Apollonia (Simonetta Stefanelli) and his second, remarried wife, Kay (Diane Keaton, perpetually stronger than her material). Diane Keaton has said watching the recut version of Godfather: Part III was “one of the best moments of my life.”. Sofia Coppola’s infamous performance is what it is; she does the best with what she’s given, which isn’t very much. Michael expected the “legitimate” business world to be less ruthless than the criminal underworld, but, as he confesses to Connie, “The higher I go, the crookeder it becomes.” It’s an inversion of the naiveté evinced by Kay in The Godfather when she asserted senators and presidents don’t have men killed. This is grist for a psychological drama, and there are moments when The Godfather, Coda takes on the intimate grandeur of Luchino Visconti’s Sicilian family drama, The Leopard. In 2001, Coppola unveiled Apocalypse Now Redux, a massive, meticulously restored expansion of his Vietnam masterpiece that some critics felt eclipsed the already-worshipped theatrical release. It helps that Michael has hedged his bets. In one of many lifts from Shakespeare’s “King Lear,” Garcia plays the illegitimate outsider Vincent Mancini, eagle-eyed hothead among the new “Godfather” characters. His punishment is a long life (“cent’anni”), the very thing he stole from his enemies and, via one unforgivable act, his brother. He’s not only settled all family debts; he’s severed himself from any semblance of a loving family. He believes atonement is possible. What kind of heat came down on the organization after the assassination of JFK? In this sense, Coppola has mended the movie. The third “Godfather” movie never had a reason for existence beyond its financial one. He is devoid of humanity. How could it? Coppola may be the maestro of the Director’s Cut, but to fully address these shortcomings he’d have to weave some kind of editorial sorcery that does not yet exist. To like about “ Godfather ” movie never had a reason for existence beyond financial. 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