The Godfather Part Three (1990)
Country: US
Technical: col 161m
Director: Francis Ford Coppola
Cast: Al Pacino, Diane Keaton, Andy Garcia, Talia Shire
Synopsis:
Michael Corleone strikes a deal with the Vatican in his search for total legitimacy but finds everything just as crooked as before, and personal tragedy awaits him.
Review:
Not as strong structurally as the first two films but certainly reminiscent of them, especially in the final operatic montage (a fact pointed up by the setting). The ending, showing the death of a decrepit old Michael in his chair outside a Sicilian villa, is misjudged, especially when it is so obviously calculated: the evident desire to set a seal on the saga is understandable but regrettable when it is so perfunctory. On the positive side it is good to see Franco Citti and other familiar faces from the old films.
Country: US
Technical: col 161m
Director: Francis Ford Coppola
Cast: Al Pacino, Diane Keaton, Andy Garcia, Talia Shire
Synopsis:
Michael Corleone strikes a deal with the Vatican in his search for total legitimacy but finds everything just as crooked as before, and personal tragedy awaits him.
Review:
Not as strong structurally as the first two films but certainly reminiscent of them, especially in the final operatic montage (a fact pointed up by the setting). The ending, showing the death of a decrepit old Michael in his chair outside a Sicilian villa, is misjudged, especially when it is so obviously calculated: the evident desire to set a seal on the saga is understandable but regrettable when it is so perfunctory. On the positive side it is good to see Franco Citti and other familiar faces from the old films.
Country: US
Technical: col 161m
Director: Francis Ford Coppola
Cast: Al Pacino, Diane Keaton, Andy Garcia, Talia Shire
Synopsis:
Michael Corleone strikes a deal with the Vatican in his search for total legitimacy but finds everything just as crooked as before, and personal tragedy awaits him.
Review:
Not as strong structurally as the first two films but certainly reminiscent of them, especially in the final operatic montage (a fact pointed up by the setting). The ending, showing the death of a decrepit old Michael in his chair outside a Sicilian villa, is misjudged, especially when it is so obviously calculated: the evident desire to set a seal on the saga is understandable but regrettable when it is so perfunctory. On the positive side it is good to see Franco Citti and other familiar faces from the old films.