Friday, March 6, 2020

Reserved Seating Goes All Pacino: THE GODFATHER PART III

by Adam Riske and Rob DiCristino
The review duo who doesn't think cousins should date.

Rob: Welcome back to Reserved Seating. I’m Rob DiCristino.

Adam: And I’m Adam Riske.
Rob: Our All Pacino series returns for 1990 Week with The Godfather Part III, the oft-maligned conclusion to Francis Ford Coppola’s Godfather series. Picking up twenty years after its predecessor (1979, for those keeping score), the film follows an aged Michael Corleone (Al Pacino) as he works to finally legitimize his business interests and pass a clean legacy onto his children (Sofia Coppola as Mary and Franc D’Ambrosio as Anthony). Although Michael has long since sold off the Corleone’s New York territory to Joey Zasa (Joe Mantegna) and recently earned a commendation from the Catholic Church (though a sizable donation, of course, a move that Michael’s ex-wife Kay [Diane Keaton] recognizes as “shameful”), the Godfather is still plagued by guilt over the dirty dealings of his past. Furthermore, his plan to parlay his family fortune into an ownership stake in a massive global real estate empire is complicated by the arrival of his illegitimate nephew Vincent (Andy Garcia), whose hot temper and lust for glory bring Michael — just when he thought he was out — back into the underworld.

Like many Italian-American film fans (and film fans, in general), I have a complicated relationship with The Godfather Part III. On the one hand, it’s part of our holy trilogy and therefore more or less above reproach. On the other hand, it’s a convoluted and tonally-uneven legacy sequel that lacks the powerful melodramatic weight of the original films at nearly every turn. It would be dishonest to say that I hold Part III in anywhere near as much esteem as I do the previous films, nor can I say that I revisit it all that often. I don’t think I’m alone in that: While not a “failure” in the traditional sense (it was nominated for seven Oscars, grossed nearly three times its budget, and was given positive reviews by major critics like Roger Ebert), the popular consensus has always been that the third film is inferior to its predecessors. Still, I’ve always appreciated Part III for its ambitious juxtaposition of the underworld with the church and for an Andy Garcia performance that ranks among the best in the trilogy. While never feeling entirely necessary, Part III is a decent capper for series completists.

Adam, what are your thoughts on The Godfather Part III?
Adam: I’m more with the movie than not. Francis Ford Coppola has said The Godfather Part III is meant more as an epilogue than a sequel to the first two Godfather films. Others have said the movie was made for the participants from the previous films to cash in. Keeping those two statements in mind, I’ve always been fine with The Godfather Part III. I probably first saw it in the early 2000s, which was a good thing because I didn’t see it in 1990 when almost everyone felt it was a letdown. I came to the film knowing it was a “failure.” I think it’s an interesting movie on its own and benefits from being watched separately and not in succession with the first two movies, where it can only suffer by comparison. The Godfather Part III often plays like a parody song where the lyrics are changed, but the rhymes must fit perfectly to maintain the structure of the tune.

Rob: I totally agree. Bits like the helicopter attack, the pronounced presence of oranges, and even the opening party scene feel like Coppola (and screenwriter/novelist Mario Puzo) trying to recapture some old Godfather fire in form, if not in spirit. I was struck on this viewing by how desperate Talia Shire (as Connie) looks to get that opening party energized, as if she’s saying, “Come on, this is a Godfather movie, we swear!”

Adam: The arc of Connie is the oddest thing in the series for me. She’s hysterical and throwing plates in one movie and evolves into a Lady Macbeth figure who’s spying (with opera glasses) on an elderly man eating poisoned cannoli in the finale. It’s strange.

Rob: I’m glad you brought that up, because Connie has always been a sticking point in Part III. She’s the only one left who can reasonably take on the consigliere role, so her ascension might just be a matter of necessity, but we never see how her relationship with the family business changed over the years. When she tells Michael that Fredo’s “drowning” was a tragedy, I’ve never been able to decide if she’s legitimately uninformed or if she’s winking to her brother to let him know that she understands his burden. I wish we’d seen a little more interiority from Connie in Part III. Shire is certainly talented enough to take that on.
Adam: I agree with you that Andy Garcia steals the movie. He almost represents the audience and what they probably want from a Godfather movie (showdown with a rival mobster, maturing from thug to Don). Circling around his story are weird ancillary plots like cousin incest, assassins who can imitate donkeys (it’s chilling, I don’t know how, but it’s chilling), Vatican corruption, and the election of new Popes. Francis Ford Coppola is too interesting of a guy to not want to explore operatic (figuratively and literally) themes, which is commendable even if it sometimes leaves me wondering how he got to some of his choices. I also appreciate him wanting to explore the later life of a repentant Michael Corleone trying to buy back his soul. It makes sense to me and gives the movie a personality different than the previous films. The Godfather Part III is worth its existence if only for the great scene where Michael breaks down in front of a Cardinal after finally saying out loud that he ordered the death of Fredo Corleone so many years ago.

Rob: As you alluded to, what’s beautiful about this version of Michael is that we get to see later-career Pacino play with the character a bit, so rather than the stoic and icy monarch of previous films, we get a playful and honest grandfather-type who’s finally let the mask fall and is just trying to reclaim some semblance of humanity. His lighter moments almost feel like Pacino improvising, and while we understand Kay’s hesitance to even be near him, we can’t help but wish the two could reconcile. This is the man Michael always was, but circumstances forced him (from his perspective) to be someone else for all those years.

As good as Pacino is, this is the Andy Garcia Show, as far as I’m concerned. In the bonus materials, the actor talks about trying to instill Vincent with all the qualities of the other Corleone men: Vito’s intelligence, Michael’s cunning, Fredo’s heart, and Sonny’s rage. I think he pulls it off in spades, both in his line deliveries and physical presence. I love the way he turns on a dime to save Michael from the helicopter attack (‘It’s a hit! Let’s go!”) and the way he shifts his body language after Michael makes him head of the family. But what I love most about the character is that he’s never presented as jealous or resentful of the legitimate Corleone children. He protects and supports Anthony and (obviously) has genuine affection for Mary. He refers to himself as Michael’s son (“Command me in all things”), but never seeks to undermine him for selfish reasons. The tour of the Old Neighborhood with Mary is one of my favorite parts of the movie because Vincent values his heritage and wants to see the Corleones regain their former glory (“I don’t want out,” he tells his uncle), even when Michael is trying to erase that part of their history.

Adam: What do you think of poor Sofia Coppola’s performance? I blame her father for putting her in a position where she couldn’t succeed (her line deliveries make it transparent she’s not a natural actress). I’m also thankful in a weird way for this performance (which I don’t think is completely terrible -- she has a presence and naivety that’s right for the character) because the potshots she took might have steered her towards directing such favorites of mine including The Virgin Suicides, Lost in Translation, Marie Antoinette, and Somewhere. Also, is this Eli Wallach at his most Eli Wallach-y? Him eating cannoli deserves its own film study.
Rob: Wallach is the best, and I agree with you that Coppola, while at times painfully unpracticed in her performance, is actually kind of right for the role. Mary is supposed to be the sheltered, naive daughter of a powerful dynasty. She’s got the Corleone blood, but absolutely no street smarts or killer instinct. Her ignorance represents Vito’s ultimate success: His grandchildren will never know a criminal lifestyle (well, the legitimate ones, anyway), and they will be free to pursue their own destinies as genuine Americans. She’s reaping the rewards of decades of struggle and tasked only with building something greater on its foundation. Sofia Coppola fits that bill. Even her Westernized pronunciation of “Corleone” -- no hint of accent -- feels right, in context. So while I agree that her true place was always in the director’s chair, this may have been the one and only role Sofia Coppola was born to play.

So, we’ve been skirting around the whole incest thing, but should we address it head on? Is it strange that there’s only one reference to the idea that first cousins shouldn’t kiss? I think Coppola and Puzo were using the relationship to illustrate that Michael is protecting Vincent and Mary from his own fate, that his attempts to keep Kay and his children “safe” cost him his soul and, if nothing else, he can pass that lesson on before others make that mistake. Vincent can’t be the Don if he has pressure points that his enemies can press on, and by drawing that line between the Corleone family and the Corleone Family, Michael may actually be ensuring the survival of both. Still, it’s just...weird, right?

Adam: It’s impossible to ignore and I’m struggling to find any rationalization. So much of it seems like an unforced error. Why can’t Vincent and Mary be close but not intimate? It’s weird that incest is a debatable topic within this world, especially in 1979. How would Vincent not be convinced Michael would have him killed for an indiscretion like this? How sheltered is Mary that she thinks this is an option? All that’s said is “It’s too dangerous” and hands get slapped for pushing the envelope. This is Michael Corleone’s daughter. The dude overreacts. How is he not to this? Also, why would Francis Ford Coppola want his own daughter caught up in this subplot? Acting’s one thing, but this is something else.

Rob: I remember looking to see if there were some sort of Italian cultural precedents I might have missed on this one, but I could never find anything to justify it. Maybe someone can help us out?

Also, what do you think of Coppola’s idea for a fourth film that would parallel Vito’s middle-aged rise to power in the 1930s with Vincent’s stewardship of the family through a 1980s mob war? Part of me feels like it would be repeating too many themes from previous films, but I also find Garcia so captivating as Vincent that I’d be willing to give it a shot.

Adam: I think at this point you close the book. We like Andy Garcia as Vincent Corleone, but he’s not a beloved character like Michael and Vito. Having an entire movie centered around Andy Garcia (who isn’t a lead that can open movies in 2020) would seem like a weird move to me. I’m going to go with the Terminator stance on a fourth Godfather movie, which is don’t do it since you can’t improve upon its predecessors.

Did you find the first hour of the movie to be ironically fun from the standpoint of wordplay like I did? Joe Zasa is a funny name and they say it so much that it becomes like the magic word on Pee-wee’s Playhouse. Also, I had a great time hearing everyone floridly say “Immobiliari.”

Rob: At least once a week, I’ll say out loud, “You must make your peace with Mr. Joe Zasssssaaaaaa.” It’s incredibly pleasing. This might be the only movie I actually like Joe Mantegna in, now that I think of it. He’s always read as really forced and performative to me, but he’s playing such a goofy parody of a mafia hood here that it kind of works. Is this a Mark Ahn, for you? Ebert said that it works better than it should, that if it weren’t a Godfather film, it wouldn’t be as successful. I think I agree with that. It’s riding quite a bit on our good will toward its predecessors.

Adam: Mark Ahn for me too. It’s like Den of Thieves is to Heat, but in this case to The Godfather.
To close, here’s my ranking of the Pacino films we’ve covered so far in Reserved Seating:

The Godfather
Once Upon a Time in Hollywood
Heat
The Godfather Part II
Donnie Brasco
The Irishman
Carlito’s Way
Serpico
Any Given Sunday
Sea of Love
Dog Day Afternoon
Frankie & Johnny
Dick Tracy
Insomnia
Scent of a Woman
The Godfather Part III
Two for the Money
The Devil’s Advocate
Danny Collins
The Recruit
Looking for Richard
...And Justice For All
City Hall
Manglehorn
Author, Author
88 Minutes
Righteous Kill
S1mone
Hangman

Rob: First of all, wow. We’ve covered a lot. Alright, here’s my list:

The Godfather
The Godfather: Part II
The Irishman
Heat
Once Upon a Time in Hollywood
Dog Day Afternoon
Frankie & Johnny
Insomnia
Sea of Love
Carlito’s Way
Serpico
Scent of a Woman
Dick Tracy
Any Given Sunday
Danny Collins
Donnie Brasco
The Godfather: Part III
The Recruit
The Devil’s Advocate
Two For the Money
Looking for Richard
...And Justice For All
S1mone
City Hall
88 Minutes
Righteous Kill
Manglehorn
Author, Author
Hangman

Adam: We’ll be back next week. In the meantime, you should be watching movies from 1990 :-) Until then…

Rob: These seats are reserved.

2 comments:

  1. I was so incensed by Sofia Coppola's performance when I finally rented this and saw it in the mid-late 90s - but I have a feeling that I would view it differently now, and your column supports that. You make so many interesting observations here - I have to re-watch!!

    ReplyDelete
  2. A true story:

    Years ago, I worked at a bookstore that sold DVDs. I was working the register when a fellow came up with a copy of the trilogy box set (fun fact: the customer, who I won't name here, was the co-star of a fairly well-known '90s indie film). I rang him up and gave him his box set in a bag, at which point he took it out, unwrapped it, pulled out Part III, and said to me, "Do you want this? I'm never going to watch it."

    ReplyDelete