The Death of Michael Corleone - How I Learned to Love The Godfather Part III?

[@redtexan7053]

“But what was Coppola to do? Paramount won’t pay Robert Duvall what he’s worth, and the Corleone family need a lawyer.” Sounds like someone better call Saul.

[@EyebrowCinema]

You may have just imagined the greatest movie never made.

[@VICTORZITOSS]

@@EyebrowCinema You know how there are so many films "-- but in fantasy"? "What if cops but in fantasy"? "What if modern world but with fantasy"? Well, i present to you, what if modern bullshit but with Noire. Bring the old stupid codes of the mafia that believed themselves cleaner than criminals with the modern bussiness man like who believe themselves smarter than criminals.

[@PutXi_Whipped]

They couldn’t fit the inflatable Statue of Liberty in Michael’s house.

[@Praetorian8814]

He's no Vito Corleone... Right now he's Fredo!

[@afdlink]

@@PutXi_Whipped not with that attitude

[@galesito1733]

Micheal's confession scene is one of the most powerful of the entire series.

[@ReverendSam1]

The best scenes were"just when I thought I was out"& when Michael realized who & what the"family"was & turned it over to his nephew!

[@anthonyedwards7796]

Would it have had more meaning if it would have been Kay and not the priest? Agree with Pacino though, Micheal would not have shown such remorse.

[@pedro75225]

Tom was a crucial cog in the wheel, like sonny...even fredo!! There was so much more substance in the characters and by the time it came to coda (#3) all the soul had been sucked out of the family because they were all dead!! (#2) held up as legendary because it had the origin story. (#3) should have gave Tom or sonny a timeline story during the Vatican/ religious core to give the story more depth imo

[@EliuSosa22-]

No

[@jessecottner314]

I loved the last scene when his daughter Mary died and he screamed out

[@nateds7326]

I think a simple yet effective rewrite they could've made was making it so instead of Tom dying, he quit the Corleone family. Even if it's offscreen it could've been effective for Michael to remark how Tom Hagen, his last remaining brother, cut ties with him after he killed Fredo. Number 1. That'd be completely in character seeing as how Tom loved Fredo like a brother and probably wasn't privy to Michaels assignation plot. I can picture in my head just one of the characters saying something like "no wonder Tom abandoned you". It would make Tom Hagens absence a feature instead of a blight.

[@EyebrowCinema]

That is a brilliant suggestion.

[@Einnor084]

@@EyebrowCinema I doubt Tom, woulda left like dat. Fredo, DID btray Michael & Tom wuz well aware of da consequence of dat, just azz Fredo wuz. Bsidez, u can't quit La Costra Nostra. Once ur n, U R N & da only way ur leaving, iz n death. THUSLY.........

[@xBINARYGODx]

@@Einnor084 italian hands

[@valkyriesardo278]

Disagree. Tom and Michael both loved Fredo, but both understood the harsh reality of their business. Recall that Tom was sent to deal with Woltz. It had to be Tom who informed Don Vito how to strike at Woltz. That resulted in the butchering of that magnificent stallion. Tom didn't lose any sleep over that incident. Tom loved Fredo, but he understood the penalty for betrayal and Fredo had conspired to kill Michael. There are no "let bygones be bygones" in a move like that.

[@ashroskell]

Yes. Imagine if it began with their relationship being pretty much where the last movie left off, and then told the story of the breakdown of their relationship, with the ultimate irony being that Tom manages to achieve everything that Michael fails to. Tom’s children all love and respect him, following career paths that he hoped for them; he divests himself of all criminal connections and goes completely legitimate; and he becomes a respected, much loved member of the financial, political and establishment community. If neither character was happy, Tom because he’s lost the family that really matters to him and cannot forgive Michael’s betrayal in the form of Fredo’s murder, and Michael is unhappy for all of the reasons highlighted in part 3, this would add to the irony and make for a great, “Crime never pays,” parable. The climax would have to be centred around a showdown between the two characters, but an emotional one, rather than a violent one. One in which the two characters are placed in the same room for the first time in the movie, and which goes badly for both of them. Imagine that movie? . . .

[@michaelcoffey6952]

It is especially interesting to compare both versions of Godfather Part III to The Irishman, as both films are iconic filmmakers revisiting the gangster genre as meditations on aging and regrets.

[@EyebrowCinema]

The Irishman's final act in particular feels like the ending Coppola wanted for Michael but couldn't quite crack. Just this long, sad, empty final stretch of life.

[@skatemetrix]

The soul-destroying scream of Michael Corleone is worth the price of admission.

[@cityhunter557]

That and the death on chair

[@humanbeing2420]

One aspect of Godfather III that has gone mostly unnoticed: early in the film some newspaper headlines indicate that the events are taking place in November 1979, but almost nothing in the film is appropriate to that period. Costumes, hairstyles, interiors - they're all contemporary 1990. Women have shoulder pads. Men wear double-breasted suits. Aside from some of the cars, nothing looks like 1979. I noticed this when I saw the film in theaters on its initial release. I wonder what Coppola's thought process was...

[@tbc9096]

I too have noticed this. The only thing that makes it look like 1979-80 are the vehicles shown. But that’s about it.

[@ODUBlue]

I wondered that too!!

[@lovinglife419]

The other thing that drives me crazy, since I was a teen, is that when Mary is shot Vincent runs down the stairs to shoot the assassin, then he's screaming Mary's name from a distance (audio wise), but he's actually walking right passed her with his mouth closed. That never lines up. And I so wish there was a close up of when he went to be with Mary in the end.

[@rivereuphrates8103]

I think the collective memory of the span from 1979 to 1990 hadn't come into a sharp-enough relief yet- we were too close to it for it to have really seemed all that different from the contemporary world in 1990. So at the time, those visual distinctions which seem so clear to us now weren't really salient. Its like how 2014 doesn't seem that far away from us yet in 2024, to us a lot of stuff still appears the same or at the very least not drastically different, but in another decade or two, we may be able to distinguish '14 from '24 immediately based on clothes or aesthetic design. At the same time, i think distinctions like this are slowing down as we move further into a true monoculture.

[@rxtsec1]

My biggest problem is Coda's ending because it is the same ending of 3 & I hated that they took away him dancing with apollonia & kay. The whole point was the woman all close to Micheal's life were destroyed. I didn't like connie's parts being taking out but you make a good point about za za's death. The new beginning is pretty cool & the best part about the Coda is we get the original glasses death which they were forced to tame In the original theatrical cut

[@rxtsec1]

I meant same ending of 2

[@rxtsec1]

The other part I hate that they cut out was when he was talking to Don Tomisino's dead body about why he was so feared and why tomisino was so loved.

[@EyebrowCinema]

I'm personally okay with the change but you make a good case for the original.

[@jonathanaldecoa1099]

I don’t mind the changes except for not having the “death” at the end.

[@IbrahimAli-jl8fu]

Brilliantly put. It's also worth noting that Coppola describes his original intention for the film as a face off between Michael and Tom, an idea which I would've loved to see, but I am content to die someday without that because the failures of the movie brought a great video from a great creator out of it. Keep it up.

[@EyebrowCinema]

Thank you so much. I too remain forever intrigued by the Godfather III which could have been.

[@michaelhall2709]

I still remember the summary from NPR’s review at the time of its release: “While it may not be a masterpiece, THE GODFATHER PART III is clearly the work of a master filmmaker.” That pretty much sums it up.

[@lovinglife419]

Ah, that's the characterization I've always searched for. It's beautiful, but it isn't really a part three.

[@sergeymarchenko6252]

I guess for me, a big problem is Pacino didn’t play Michael Corleone in it. He played just another 90s Pacino character in it. It would be more interesting if he became closer to his father.

[@EyebrowCinema]

That did bother me on a first viewing, but I accepted the characterization a lot more on a second viewing. He feels different but enough time has past that I don't find it incongruous, especially since the core motivations are consistent with the Michael of old. I think the restructured beginning helps in that regard.

[@sergeymarchenko6252]

@@EyebrowCinema that’s cool. I guess it seems Al just did what he did vs playing Michael.

[@Maria_Hinojosa_Baylon]

That’s exactly what I thought. Pacino didn’t play Michael Corleone at all. I was like “where’s Michael Carleone

[@PalmdaleFrontDesk]

thats garbage how dare you

[@UltimateAwe]

Yeah, Pacino’s persona came through a tad more than Michael’s. But it was still a masterful performance.

[@01BenMillar]

I think the absence of Tom Hagen only emphasizes Michael's removal from the world of his "honourable" gangster father. He now has a more corporate lawyer who would probably work for anybody. It's not about rising from poverty or protecting the family, it's more about preserving the position they already have, morally dubious as it is. The thoughts, feelings, backstory, whatever, of his new lawyer are not important in Michael's powerful, lonely life and this is why I thought that character worked in Michael's later situation. Don't mean to be knocking. Please keep up the good work.

[@spaceodds1985]

Could not agree more with you regarding the lack of Tom Hagen in part three. Also, The lack of Duvall’s participation was seriously felt, since IMO Duvall is the true secret weapon of the first two film. Subtle, yet magnetic.

[@EyebrowCinema]

He's so fantastic as time. Just sinks into that role and feels completely effortless.

[@ReverendSam1]

The secret weapon of the first two movies is the fact that Michael was moving the"family"in a different way his father did. Remember a lot of ppl including his sister & brother went against him, Connie telling him for yrs she hated him & his brother trying to have him taken out!

[@ReverendSam1]

@@EyebrowCinema Isn't the premise of GF3 a/b Michael not being able to get the"family"from under the mystique of Vito🤔? As hard as he tried when ppl heard the Corleone name it was synonymous w/crime & criminal activity!!

[@Pssybart]

This is probably the best analysis of Godfather III/Coda I've ever seen. Most people just focus on Sofia Coppola's acting or Michael being (too much) of a different character. Your observation that the movie is torn between trying to be an epilogue and trying to be a grand gangster epic is something I had never really thought about to that extent. And it really makes sense. Yes, the movie does have streaks of brilliance. And through analysis one can really reach out and grasp what the movie is trying to say. It's just that at face value the movie delivers its themes more akwardly and in a less satisfying manner than the first two films.

[@EyebrowCinema]

That means a lot Sandro. Whenever I tackle famously torn apart movies I hope I can say something new and not just hit the points everyone knows.

[@DanielSong39]

They focus on those two things because those are the two things, along with the helicopter scene, are what kill the film.

[@Pssybart]

@@DanielSong39 That's an opinion. And I personally don't think that's the case. Especially Sofia Coppola. Not defending her acting, but I don't think such a flaw is distracting enough to ruin a film. It's nowhere near as distracting as Keanu Reeves in Bram Stoker's Dracula. And more importantly, such criticism doesn't get to the heart of why a movie like Godfather III doesn't work as well as it should. This video on the other hand does get to that.

[@TheDukeOfTumwater]

Great video! I appreciate how you didn’t beat the dead horse that is bashing Sofia Coppola’s performance. IMO, she got a ton of undue flack from critics who used her as a means to vent their problems with the film, when, as you demonstrated, there were far more substantial problems with it than just her.

[@EyebrowCinema]

Thanks man. Sofia is a lot like Jar Jar in The Phantom Menace. Easy to point to as "the bad thing" but removing them doesn't magically fix everything wrong with the movie.

[@SpockBorg5]

Although she was no olivier, she was actually OK. Jar Jar is actually a good example on how fans can actually shoot themselves in the foot. I heard rumors about how Lucas had planned to use the character in a more positive direction, but because of all the copious bitching and whining, instead of getting maybe a rumored Darth Jar Jar arc we wound up with a little less flavor in the sequel.

[@LadyOaksNZ]

I thought Sophia was fine in the role, she acted like a fresh faced innocent young girl in the role... 💯

[@jeremyoverton7047]

I agree that the film has a lot more problems that Sophia Coppola’s performance, but still that does not stop it from being a terrible performance. I cringe at most of the scenes she’s in. That said, she’s not alone and I find Andy Garcia’s performance just as bad. There zero chemistry between the two of them and I just don’t buy Vincent’s meteoric rise from cocky thug to head of the family. That’s one of bigger problems (one of many) that the film has.

[@merkury06]

I don't think Sofia was a problem or a mistake. She was very believable as a young woman in a relationship she should not have been in. Also I don't think Winona Rider was a good choice for the role.

[@MrDale53]

It just occurred to me that Michael's final shot in the GF Coda being so similar to his final shot in GF2 might actually drive home an "It was all for nothing" theme. Anyway that's how I've decided to process it. All Michael's attempts at going straight and his attempts at redemption, finally, were "all for nothing." I don't know if that thought crossed Coppola's mind...but it works for me.

[@djtoona]

Except for some of us, for whom the "it" in "it was all for nothing" = GFIII

[@bvoz17]

I think Coda is overall better than Godfather IIi, but I have always thought the ending for Godfather III was brilliant. The parallels with the opera, the sound, the suspense, build and ultimate tragedy always got me. That said as a whole, it never lived up to Part I or II.

[@EyebrowCinema]

Yeah, as a set-piece the whole opera section is extremely well-done.

[@EnDoubleJay3309]

I think that had Duvall returned as Tom Hagen his role would have been that of Don Altobello, or something similar. Altobello is presented as a close family friend to the Corleone's, even being Connie's godfather. However, this is the first we see of him. Giving the seeds planted in the novel and first two films: in novel it is implied that Michael has some resentment for Hagen since he was far closer with Sonny than Sonny would ever be with Michael, the fact that Hagen was cut out from the mob in the first one, the open paranoia from Michael in Part II leaving a rift, Hagen's open disappointment with the state of the Corleone empire apparent in his last scene with Pentangeli, and the obvious disdain Mike has in the final flashback with Tom states that him and their father had long discussions about Mike's future, I think conflict would have been inevitable. Perhaps Fredo would have been the last straw, and Tom lost faith and betrayed Michael. But we'll probably never know for sure.

[@EyebrowCinema]

If only.

[@putowtin]

Beautifully put, I found the Coda cut to be better and agree that the ending should have been left with his actual death, the finality ensured that you were left looking back over his life instead of thinking "Hey! Didn't we do this just over two hours ago?"

[@EyebrowCinema]

I can't help but wonder if, had Paramount not been rushing the film to make a Christmas release, Coppola could have had more time and arrive at a stronger ending.

[@TurbidTG1]

@@EyebrowCinema He said he and Puzo needed 6 months to write the script for a release time of Easter 1991 but Paramount said 6 weeks instead since they wanted a Christmas 1990 release.

[@osmanyousif7849]

Me personally, I would’ve liked if the ending was sort of similar to Antonio Salieri’s fate in Amadeus (1984). Micheal at an old age is either attempting suicide or suffers a mental breakdown that gives him a stroke or heart attack, and is rushed to a hospital. He’s met by either a doctor or priest and decides that if this with be what his final days are like, tells them the story of his life (specifically the events of Part 3/Coda). The movie ends with the doctor/ priest unable to comprehend what they’ve just heard and deciding to have him taken away. The movie ending with Michael being wheeled off in a wheelchair as he watches the other old people who are looking like they’ll suffer what his fate will be, except his will be 10 times worst.

[@corbinmarkey466]

I just saw The Godfather on the big screen last week at my local indie theater, and tomorrow I'm seeing Part II. This was a great little gift to celebrate these wonderful movies (and The Godfather Part III).

[@oliverholmes-gunning5372]

As a staunch and long time defender of Part III, I couldn't agree more. GFIII serves as the perfect epilogue to the saga, and (Sofia Coppola's acting aside) is a more than decent movie. Is it anywhere near as good as I and II? No, obviously not. But I think anyone who was expecting that was being ridiculously naïve. I've always maintained that if people weren't comparing it to two of the greatest movies in cinema history it would have had a lot more love than it does, and I'm glad Coppola was able to carve out a chance to redeem himself with this (largely improved) cut. Maybe people can now finally see GFIII in its proper perspective- as a flawed but nevertheless entirely respectable and fitting conclusion to the saga... Honestly, along with Ocean's 12 and Death Proof, I consider it one of the three most underrated movies of all time. Having said that, I do agree that Robert Duvall's absence was a massive shame, and- while I liked it when I first watched it- I do take your point about the redundancy of Coda's final scene when juxtaposed with that of GFII.

[@EyebrowCinema]

Tide does seem to be shifting on the movie. Even when the film does things that frustrate me a lot the craft is hard to deny.

[@valkyriesardo278]

I never considered Hagen as crucial to the story, but I do regret losing any opportunity to watch Duval perform.

[@fallenhero3130]

It also feels like Michael is a different character at the start of PART III than he was at the end of PART II. His sudden desire for redemption and legitimacy feels like an arc that happened offscreen. Yes, I realize that 20 years have passed in-universe and it's realistic he might change in his old age, but it still would have been nice to have seen him expereince this change. Don't get me wrong: Pacino still gives a solid performance and he's one of the best parts of the movie, but it almost feels like he's playing an entirely different character than the Michael of PARTS I and II.

[@EyebrowCinema]

I did feel similar on my first viewing but I accepted the characterization a lot better this rewatch (I think the restructured opening helps a lot in this regard).

[@anthonyedwards7796]

Hagen’s character was as essential as Michael’s, how that dynamic would have played out we can only wonder but shame on Coppola. It was a money grab and these characters deserved so much more.

[@Mjdeben]

My question is when exactly Coppola claimed part 3 was: "more of an epilogue than a conclusion to a trilogy." Just sounds like a cop out after the fact once he realized everybody hated it. I also didn't know he was broke at the time. Explains a lot. Thanks for a great video!

[@EyebrowCinema]

Good question. I know the title "The Death of Michael Corleone" goes all the way back to early script drafts so I don't think the epilogue idea is entirely a cope, but you are right, it does sound like saving face. Given Part III's rushed production, I suspect Coppola never really had time to fully iron out his ideas.

[@DanielSong39]

He made the movie because he was broke

[@hallwaywarrior5286]

i recently rewatched the first two movies and saw godfather coda for the first time and i have to say i agree with literally everything in this video. exceptionally well said and edited

[@EyebrowCinema]

Thank you! I'm so happy to here you liked it :)

[@zackamania6534]

Frankie Five Angels was a BLAST and very well acted by Gazzo! I don’t think that Richard Castellano (Clemenza) would have been so dynamic like Pentangeli…

[@BugRib]

He's great! I love the character of Clemenza, but I don't miss him in this movie.

[@OLDBChannel]

Fully agree, I always liked godfather 3 and was surprised when I got older and on the internet to find out it wasn't appreciated when it came out. I think it being in a new era and the disappointing decline of the Corleone legacy and Michael's daughter dying in his arms, to him finally Keeling over and dying alone made perfect sense to me. I wanted to see how Vincent got on, as I think he would have been a bad Corleone Don and either got killed getting around the cartels or become more violent overall, or just get caught in a huge Rico case.

[@SteveBerryhill]

The Godfather and II are the best movies ever made. Nice work. Thorough. (I just watched a video on "Coda" and its creator admitted they had only seen III once in theaters). I agree completely on Tom. I found III predictable, ( Roth 2.0 etc.) and I was just waiting on the climax when all enemies were whacked. I knew it was coming. Lazy. The "Coda" ending I find interesting, as Michael is not allowed to escape his self imposed fate with death. He continues to have to live with it. Yes, He (Michael) and we have wasted our time...As hard as Michael tried, nothing will change. "You're gone, and it was all for nothing."

[@danielfolk5266]

The film is such an interesting case of what if. Also I love the director's commentary.

[@EyebrowCinema]

Really appreciate Coppola's honesty and frankness when talking about his own movies.

[@danielfolk5266]

@@EyebrowCinema seriously, he compares himself to Michael Corleone quite a few times during the commentary.

[@vanpelt2321]

Since the first and last time I saw it in 1990, the idea of revisiting TG3 was like watching a home movie of one's mother drunk and falling down at a family wedding: time and perspective simply does not make it easier to watch. However, your analysis is not only articulate but compels me to watch it again as you reveal it to actually be a summation rather than a continuation. TG1 and TG2 both hinged on the cycles and seasons of an Italian Catholic family's sacramental life. Weddings, baptisms, first communions, all visible symbols of life and hope corroded by the corruption of sin and death. You've made me rethink TG3 as a true coda in that it continues the sacramental theme with Michael's confession and contrition for a life in the service of evil and darkness. It's baby steps but thank you for helping me screen TG3 through a new lens.

[@raymondbritton-white3839]

Imagine if Coppola reshot the ending, with a now aged Pacino, would have been something special.

[@ZachCloss]

Great video! I agree that the sharper focus given by the new opening was arguably the most evident and effective change, and you illustrate the missed opportunities of Tom Hagan in Part III so tantalizingly!

[@NaterTot]

Eyebrow - "I don't make crazy good thumbnails." Also Eyebrow - releases a BANGER of a thumbnail. Awesome. I'm here for it, my friend.

[@EyebrowCinema]

Ha! If I can find an interesting core image half the battle is done.

[@TheGamerThing]

Another little thing with the ending. He uses the shot of Michael putting on the glasses at the final shot, but it isnt long enough to be impactful on its own. The pacing is way too fast as it fades to black

[@EyebrowCinema]

Also a great point. Almost makes me wish Coppola had straight up re-shot a new ending with Pacino as an elderly Michael. Man wouldn't even need make-up to do it anymore.

[@zackamania6534]

Just when I though I was out, YOUR VIDEO pulls me BACK IN 😃

[@lovinglife419]

I saw the original in theatres this year. And my goodness, it was beautiful. As a kid, at 9, I loved the cinematography. 30 years later, all of them are still so beautiful.

[@Fejrus887]

Having seen the trilogy for the first time this year (I actually got to see The Godfather Coda in my local cinema and it was a lot of fun), I can understand having misgivings with the movie, but I completely disagree with you on the ending. I think it works beautifully, because it is the opposite to Vito Corleone's ending (Same with the opening reference). During the entire film Michael tries to get rid of his sins and get completely out like his father to an extend...but he can't. He made too many decisions that can't let him have his happy ending and those decisions (like killing his brother) come back to haunt him with the death of his daughter and the worst thing... he has to live with that pain now for a very long time. No peaceful death in the field, no one there...you went to far. That's why there are all theese set pieces and big events, instead of a quite contemplation the movie could have been. Michael is too far gone, to get that kind of movie and the dissonance is I think the point in that. Atleast that is way it works for me. I also did not know about the Robert Duvall situation, so the replacement for him worked for me in the same way that Vincent did. I also don't think he is dissapointed about his son, but much more happy for him that he got to do what he could not (Not being in the business). The whole thing of it being a Coda instead of a Part 3, I still think fits generally. This is obviously a Godfather movie, but the word Coda also comes from the music world and there it serves as an extra part that ends everything and is not on eqaul footing as the other parts of a composition which very much fits with the other movies. Also all the music in this movie especially with his son's career, the opera scene, the solo piece he gets to perform (Which didnt have subtitles originally) helps that connection even more. A small extra part that ties up the loose ends and (to put it in musical terms) ends in a very long, never ending fade out (for Michael atleast).

[@EyebrowCinema]

You make a good case here, especially for the ending. I see it in theory but I don't really feel it emotionally. Envious you got to see Coda in theaters though. That sounds awesome.

[@bl4nkd4hli4]

The omission of Tom Hagen was my biggest pet peeve with this ending too. What a finale it could've been if they were just willing to pony up the dough!

[@gavindawson1528]

Tapia Shire is one of the most underrated actresses of all time

[@chrish9698]

This was a very well thought-out and well presented video on a movie that is certainly a challenge to review.

[@EyebrowCinema]

Thanks Chris. Glad you liked it.

[@oleh_lunin]

I never actually saw the Coda version, and I'm grateful to know that one exists, so thank you for that alone! Cutting away ties to parts 1 and 2 actually does a lot for this movie to stand on its own, and not be over-burdened by nostalgia. To me those references felt like actual devices to draw the viewer emotionally, and not points to advance the plot or develop the characters. That was a crying shame. That, and the performance of Many Corleone (though, of course, it's all subjective, and she does look like my ex-wife, so that might have made me overly biased against her; still, her delivery falls flat most of the time). Of course, no cut can ever fix that, since she is one of the main characters. That being said, Tom Hagen's absence didn't feel that awkward to me for some reason. His replacement was by no means a Frank Pentangeli move, where a new character is actually relevant -- no, instead Tom's absence is just part of the exposition to me. "Ok, Tom died, there's his son, he's a priest. Okay" -- that's what I thought when watching the movie (not the "Coda" version). Honestly, that is actually fine, in my opinion -- in fact, mentioning Tom LESS (and not showing his son) might have helped out in freeing the movie from the burden of part 1 and 2 legacy. That's because it clearly underlines from the get-go that it's a new story about Michael. In fact, I think that Al Neri and Connie work very well to underline Michael's situation in his twilight years. Connie, who has managed to center herself by finding purpose and helping out Michael, reminds us about the emotional fragility of the human being that Michael still is. Al, on the other hand, is mostly silent in this movie -- and he is also looking very tired. I noticed that nuance multiple times when watching the movie -- he is the manifestation of Michael's phrase: "... they pulled me back in" -- a worn-out weapon of a man. He frames the other side of Michael -- his ruthlessness and paranoia that have never dulled despite his age. And that, in turn, brings me to Vincent, who indeed does his best to act like Santino (which again draws the movie closer to the previous parts). For better or worse, he represents Michael's legacy -- one of disappointment, I guess (if we recall that Vito called Santino "a bad Don", and Vincent acted a lot like Santino). That is where the real problem lies, however. Vincent's character is not concluded properly. For all of Mary Corleone's faults, her character has an arc -- a formal one, terminated by her death; yet Vincent has no such arc, in my opinion. While we see Michael agonizing in one moment and quietly dying in the next, and Kay watching the murder scene with literally the same eyes as Michael watched her during the abortion scene in part 2 (which, I think, is brilliant btw), Vincent's reaction doesn't explain much. Was he supposed to be in love? Was he sad about Mary's death? Relieved that he wouldn't have to worry about leftover feelings? It's not obvious. Now, that's the point of this whole post. In my opinion, this movie (and its "Coda" version too, I guess) is missing a scene in-between the assassination attempt and Michael's death. The epilogue of the epilogue, if I may. I think that they could have bound this movie to the first two in this very instance. Part 1 has Vito's grand funeral; part 2 has Michael's mother's quiet funeral; I think part 3 could have used a funeral as the final scene. It could have been a subversion of expectations -- we see a funeral parade, and we immediately think about Mary -- but it's actually the funeral of Don Tommazino. In that moment we can resolve the arcs of both Vincent, Connie and Al. How could that be done is another question. Let's try a thought exercise. Suppose that we see Vincent with a shovel, burying the corpses of the assassin and Don Altobello alongside each other. There is no disgust on his face, only contempt. We then focus the camera on his ring finger, where we see a fancy diamond ring. Vincent gets called over by a woman's voice. That voice sounds like Connie's. He smiles and lights up a cigarette, then turns around. A young woman in an outfit that highly resembles Connie, walks in, complaining about the heat. "We'll be home soon, darling. This place is a dump" -- Vincent says scornfully, as he does his best to turn the lady away from the freshly dug grave. We then cut to the funeral. Connie is sitting there -- she dons the same shades as Michael used throughout the movie. She sees Vincent come in. Al is sitting beside her, drooping his head, sound asleep. As the priest heading the funeral continues his chanting, Connie whispers to Vincent, who sat down next to her: "I don't want Mary to be buried here. We need to fly her to New York". Vincent shrugs. "Who's Mary" -- his "girlfriend" asks. Connie hears that. She curtly stands up, then grabs the young woman by the collar and spits in her face. The funeral stops for a moment, with their attention drawn to this incident. Vincent stands up and says in flawed Italian that Connie is becoming senile. He then takes her's and his "girlfriend"'s hands and walks them out of the church. Vincent tosses a glance at Al, who is still asleep, and whispers to Connie: "It's all been taken care of", to which Connie replies in a rather disgusted tone: "And what about you?". She then jerks her hand away, and proceeds to leave on her own. We then cut to Al. It's evening, candles have been lit up in the church, the funeral long over. For some reason, no one pestered his sleep. We can see him smiling as he leans against the church wall. Then Al wakes up and instinctively looks at his watch. He looks around, startled, perhaps, for the first time in many years. He then quietly recalls something and reaches into his pocket. In there, he finds two sets of keys, labeled "Al" and "Mike". Al stands up and slowly walks out of the church, his pace sloppy. We see him later near a rather run-down mansion. He opens the gate with Michael's key. In the courtyard, we see Michael sitting, staring blankly into space. Al looks at Michael for a moment, but doesn't say anything and comes inside the mansion. We can hear the phone ringing. "Al, is Michael coming? We are going back" -- Connie shouts over the phone. Al says: "Some things came up". Connie doesn't say anything in response. "My condolences" -- says Al rather formally. "Thank you" -- Connie replies, as her voice gets drowned by the announcer in the airport. She puts down the receiver of the payphone and calls over Vincent in a stern voice. We cut to Al again. He walks to a guestroom and pours himself a drink. In the guestroom, two puppies are playing. With his hands unflinching, Al grabs one of the dogs and walks in the yard. He comes over to Michael. Whatever angst took him over, it's gone in an instant. Michael turns his head to Al, smiling as Al hands him over the puppy. Michael's smile is unnatural. He opens his mouth to speak, but says nothing, only nodding slightly. Al puts Michael's key into Michae's pocket and leaves, his face emotionless. As we see Al walking away from Michael, we hear Michael's murmuring: "We'll get there, pop. We'll get there". Then we can cut to the death / sleep scene. I personally think that the endings from part 2 and part 3, were they to be similar, would actually convey different messages. While in part 2 Michael essentially destroyed his family, he contemplates the future. He is alone, yet he is not dead, he is not broken, he is confused, as his life has taken on a turn that he never wanted for himself or his close ones. In part 3, however, there are no turns, no chances to fix anything, to change his life. I think having "Cent'anni" in the end is his final verdict, and answer to the question: "Was Michael able to turn his life around?" In my opinion, that ending is better, since it contrasts Vito's words, for it was ultimately Michael, who danced on the strings of others to find absolution. Those are my two cents, anyway, sorry about that, this review just got me thinking, that's all. Thank you for it, once again!

[@Hack_The_Planet_]

I love the original cut of Godfather 3!!! (Edit)I do think the things you highlight in the coda cut sound like improvements though.

[@EyebrowCinema]

It's definitely worth a watch even if it doesn't radically alter the film.

[@Vik99]

THANK YOU for this vid! When I finally got around to watching coda (having never seen part 3) I saw a couple Coppola interviews beforehand where he gave context to the reasons behind the re-edit, name change, ending change, etc. So I loved it and think it’s really underrated, and is a shame everyone else hates it. I’m glad someone articulated this sentiment in a clean, well-made video essay analysis. Also appreciated the deserved critiques.

[@jerryc5743]

12:09 - maybe, alternatively, it shows that, no matter how Michael tries to seek absolution either via confessing to a priest or going into legitimate business, he is doomed to forever pay for his sins.

[@sleazysandwich5434]

Damn I've been following your channel for a while now, it's so cool to know we both are regular patrons of the Screening Room!

[@EyebrowCinema]

Best movie theater in the world.

[@Enriqueguiones]

To be honest, I think the biggest sin of Godfather Part III is that, by the end of Part II, Michael has clearly become a robot with a heart of iron. He is no longer human. However, in Part III he is OBSESSED with the idea of ​​"redemption" and wants to get along with his ex-wife from the start. The movie takes away from us the biggest change in the character! It's like now we are following a completely different person!! And "Coda", with all its restructuring does not erase that problem, but rather accentuates it.

[@SteveBerryhill]

Hate to push back, but it's called maturity and wisdom. As we get older, we put pride aside and acknowledge the mistakes of our youth.

[@DaBaspo]

This is not a "sin" this is character development, my guy.

[@gringotroller]

One of the things that really bothered me about part III was his hair. Like Pacino to this day has great hair and certainly did in the 90s, but they decided to give him a dried out buzz cut

[@PutXi_Whipped]

I’m surprised this wasn’t mentioned in the video or the comments but the best improvement from GF3 to Coda is that we finally get to see the arterial blood spurt when Calo kills Don Lucchesi. I’m glad that all this gore was added back after being censored out. Edit: the video shows clips of it without comment.

[@xBINARYGODx]

I have seen this commented several times - you have lots 45 internets, dear sirs or madams.

[@PutXi_Whipped]

@@xBINARYGODx I didn’t see it in THIS comment section until I posted this comment. Anything else nuance troll wannabe? Edit: You sub Majority Report and Carlos Maza, you clearly have mental issues.

[@TheTocuba]

Thanks for clarifying the differences in the new cut. I couldn't find much information anywhere and I had no idea if it had any new footage or not.

[@EyebrowCinema]

I was also surprised there weren't more breakdowns of Coda and what it changed. Modest alterations or not I think they're significant enough that they warrant a look. Shooting new footage would be tricky without Storaro, but it would be interesting to see Pacino as an elderly Michael now that he actually is elderly.

[@TheTocuba]

@@EyebrowCinema I was more referring to unreleased footage being added back in, like the Apocalypse Now! redux. But actually yeah, getting Pacino back to play an elderly Michael sounds like a great idea.

[@PutXi_Whipped]

My theory: FFC saw Cavalleria Rusticana, decided to start with that opera in the end and worked backwards with the rest of the plot.

[@EyebrowCinema]

That would make some sense, especially given how much space the opera takes in the film's final act.

[@whitefox3189]

Stuck between giving Michael a bad end and a good end. I can't help but imagine someone involved in making this film pitching the idea of a hit being ordered on his daughter and Michael taking the bullet, redeeming Michael, but also creating another loop of murders.

[@realtalk6195]

_Coda_ isn't 13 minutes shorter than _Part III_ but, rather, is ~4 minutes shorter than _Part III_ and is ~13 minutes shorter than _Part III: Final Director's Cut._ I think most people are accustomed to FDC without even realizing that it's not the original release either.

[@400PlusFilms]

Great video. Having just watched 3 for the first time via Coda, I was eager to find out what I may have missed.

[@valkyriesardo278]

I do love Connie's character development as portrayed by Talia Shire. She makes an interesting contrast to the other two principal women in the family, Mama Corleone and Kaye. Mama knew Vito's business but she confined herself to domesticity, behaving as if she were deaf, dumb, and blind to the murder and mayhem. Her only form of rebellion was daily attendance at mass to pray for the forgiveness of Vito's soul. Kaye refused to comply when Michael committed to the family business. She rebelled on moral principal to the extreme of an abortion and encouraged her surviving children to seek another path. Young Connie expected the perks without the price tag "spoiled guinea brat". She berated Michael for Carlo's death, but I think she came to realize that her reckless imprudence was a major factor in both Carlo and Sonny's death. She became her father's daughter when she accepted that decisions have consequences. She ended her pursuit of self-indulgence and began to support the family interests. Connie even tried to ease Michael's burdens as something of a substitute for wife and mother, the two women he had lost.

[@zarinaa1135]

15:51 I disagree with your take on Vincent's character. Not Andy Garcia's acting as he's definitely one of if not the best thing in this movie. While watching it for the first time, I saw Vincent as a microcosm of all the best parts of the previous generation. Sony's passion, Fredo's heart, Vito's dedication, Tom's logic and Michael's smarts. But it all balances out in him to counter all their flaws. We watch him grow and mature as he's given a place in the family, and we see it blatantly in center stage and more subtly in the background. His growth is executed beautifully by Andy Garcia and Francis Ford Coppola. Afterwards I watched some behind the scenes for it, curious, and Andy Garcia talked about how Vincent is the combination of Sonny, Fredo and Michael and how he would ask Coppola before filming a scene which brother he should channel. I was so happy when I saw that he'd been successful in getting that across in a sub-par film. If this movie hadn't made it abundantly clear that the story ended with Part 2 I'd be on board for a fourth about Vincent's life as the Godfather, there was a plan to do that, and I love him that much that I'd be very game for it.

[@spinlok3943]

Release the Bj the Wizard cut!

[@rodjohnson6408]

BJ discovers ancient artifacts of power while doing research in the Vatican's archives...

[@homeaccount5943]

I agree with you, but unlike most people, I really enjoyed The Godfather III. It was brilliant, and heartbreaking to me.

[@Sanman95]

I have seen Part III a total of 3 times (I have the original version on DVD). I wanted to love it like I do Parts 1-2 but I couldn't. I HATED Sophia Coppola and Andy Garcia's weak performances and I didn't believe that Michael would be repentant for his past crimes. However I loved the Church swindle plot. Based on your video, this new Coda cut has GREATLY improved the movie and I'm going to get this one. I later learned that Coda is what Coppola wanted Part III to be but Paramount got greedy and overeached it's grasp by controlling the title and several aspects of the movie which imo destroyed the theatrical cut

[@Onezy05]

The ending with Michael on the steps is pure cinema in my eyes.

[@areyouafraidofthedog]

You just earned a sub. Made me think about how cool it would be to see these films in cinema. I remember three being bad, you may have just made me go back and watch them :)

[@Tradhistorian]

watching be kind rewind video’s on this brought me here

[@lynnmckenzie7231]

I loved part 3 as much as the the other 2. My opinion Andy Garcia was BRILLIANT !!!!

[@scms2528]

That opera sequence is something else.

[@xpindy]

Obviously I agree with you on Tom Hagen. That said "Godfather Coda" is a significant improvement over "Godfather Part Three" especially from a purely cinematic point of view. Coda is tighter and more coherent . It's still not able to measure up to the first two films because there are so few films that do. In time, I predict it will replace Three as the accepted version . As for the ending, you have to compare how Michael died in Three to how Vito died (in his garden playing with his grandson- an Italian's version of Heaven )- Two ends with Michael "wounded and not even dead" -Three ends with Michael dead- and Coda with Michael " wounded and not even dead" but this time mortally- now that he has been delivered what he construes as proof that his confession to Fredo's death has not been accepted by God. Even at the end of Two there still existed a hope of forgiveness- in a Catholic's heart.

[@1badjesus]

Those changes improved it dramatically. Never knew this version existed, I'll check it out. 👍🏻

[@evilincoln23]

I wish it had ended at the opera after Mary’s death. Jumping ahead to him years later I always found incredibly jarring. Michael crying over mary as you fade to black, would have worked a lot better I think.

[@homermontana2392]

i think you meant mary

[@evilincoln23]

@@homermontana2392 corrected thank you

[@trophypages]

For whatever reason, Part 3 is the first Godfather I ever saw and I was a fan. Ive been fond of part 3 ever since. I judged the other parts by 3.

[@erikbihari3625]

Given how mutch trash gets shoveled in our eyes daily nowdays, it's Always interesting when people go back and revaluate certain films.

[@EyebrowCinema]

Indeed. The worst Godfather movie is still made with care and skill, with a handful of fantastic scenes.

[@erikbihari3625]

@@EyebrowCinema that's not exactly my point here. For example, the sequel trilogy's horribleness is what took for people to realize there's nothing wrong with the prequels!

[@EyebrowCinema]

Ah. True enough. Distance allows people to accept their disappointment and notice the strengths easier, especially in the case of Star Wars where the newest films (for whatever their strengths) generally lack the personality Lucas's movies had and it really puts that into relief.

[@erikbihari3625]

@@EyebrowCinema wich is why I believe channels such as this:m.kzbin.info, should be more trendy! Because while people(apart from scraffarilas productions or whoever) go online and spread malicious and poorly thought out and researched lies, there's still ignorant disliking around for them. I mean the sequels are so bad even blind could see their faults, but the prequels are a harder nutt to crack for them!

[@Petal4822]

No Tom Hagan I would rather there was No Kay.

[@sebastianmittelman4071]

I’m only a minute into this so I don’t know if you covered it later but I just wanted to comment now before I forget. You mentioned that parts 1 and 2 are collectively your favourite film. Have you seen The Godfather Saga? It’s a television version of the Godfather, part one and two edited together, chronologically, including all of its deleted scenes that Francis Ford Coppola created for television after selling it to TV in order to gather additional funds for Apocalypse now. I think it came out in 1978 or 977 or around that time. Personally, it’s my preferred version of pts one and two, and it’s my favourite version of any of the Godfather movies. I might be alone in that opinion, but it is genuinely a great experience, and if you’ve seen the Godfather, one and two many times, it is a refreshing change for a viewing experience.

[@MrPurple656]

Another point about Clemenza is that he is still in the flashback scenes, so the character isn’t entirely absent from the film.

[@YourFunkLord]

Originally in part 3 there was going to be a struggle between Tom and Michael for control of the family.

[@nicolehall694]

Part Three is my favorite of the trilogy. It always has been. Coda, just like Coppola's director's cut of The Outsiders entitled The Complete Novel, it's superior to the original screen release. I'm VERY glad we have Coda

[@EyebrowCinema]

Part III as the best is a bold take. I respect it.

[@BugRib]

_Attack of the Clones_ is my favorite Star Wars prequel. This is not meant as a joke.

[@yusufashaz8137]

Michael not dying adds to the theme of the movie. No matter how hard he tried, nothing changed, and he is left all alone with himself, introspecting his deeds.

[@MrAcdc2323]

I think you’re right about Tom Hagen not being in the film, Robert Duvall was sadly missed

[@AdrianPowersFilmmaker]

Great video, great analysis. Subscribed.

[@billymuellerTikTok]

if Coda was the original ending, we'd forever be waiting for Coppola to fix it with a Godfather 4

[@geraldherrmann787]

Tom Hagen´s absence is one of the greatest issues in Part III. Another one is Pacino playing "another" character - this is not Micheal he´s playing, not even an older or reformed or wiser or beaten-up Michael. It´s just another character ... pandering to Pacino´s personal changes (and putting the problems of Part III on Sophia´s shoulders is ridiculous, she does an ok job). After being mildly disappointed, back then my idea for a possible Part IV was this (alas it´s too late now): with Coppola, Duvall, Pacino, De Niro, Shire, Garcia and others still living, "my" Part IV takes place before the end of Part III. Tom hagen is by far by far by far the character that knows most in this world about everything: about murders, about politicians, about business, about taxes, whatever. I imagine that the death of Tom Hagen was faked by himself to avoid further interaction with Michael Corleone. And thus, he had the chance that HE HIMSELF becomes the puppeteer behind the scenes (behind the curtains). So, in my head, in Part IV Tom Hagen becomes something mightier than the Godfather himself: the puppeteer of the Godfather, closing the circle to the original logodesign.

[@nikagogibedashvili6476]

Credit where credit is due - the last cross-cut assasination is the nice continuation of first two movies, but it is also a unique take, since this time both parties make their moves and on the first watch you really feel that it can go both ways (it actually does go both ways). Not gonna lie, it does not capture the glory of the original Godfather's cross-cut and is not consistent in the tone in comparison to Godfather II's downer note, but it is definitely ambitious and unique.

[@johndavies2285]

Nicely done. I agree with pretty much everything you said. I still feel the same way as I did when I first saw it at release-disappointment. It is not a bad film, and has a nice production that admirably evokes the originals, but ultimately feels aimless and unnecessary. As Pauline Kael wrote at the time, “lightning did not strike twice.” That, for all us Godfather aficionados, could not be anything other than a little sad. I agree the recut is an improvement, but it was not enough. And Tom’s absence left a massive void. You also could have mentioned Francis’ decision to cast his daughter Sophia in the film, which was the source or some controversy at the time owing to claims of nepotism (Winona Ryder was originally cast but dropped out--she would have been much better IMO), nor of Al Pacino’s bizarre haircut, which was oddly unsettling.

[@JoshuaFinancialPL]

I liked coda. One observation I think most have overlooked is the score. The impact of score on audience experience is massive. (try to imagine star wars, jaws, rocky, raiders of the lost arc with different scores) GF1&2 share an iconic score that so completely delivers the darkness and tension. Part III music is dominated by other-than GF1&2 score - specifically nostalgic and angelic-sounding songs to emphasize Michaels aspiration and current mindset as he tries to sunset.

[@thawkereynolds]

Everyone always makes fun of godfather three but the line “I tried to get out, but they keep pulling me back” is one of the most famous lines in all of Cinema. Not having Duvall was a huge mistake and I know it was not done purposely, but also having Coppolas daughter as Michael’s daughter was a dumpster fire

[@djtoona]

“Just when I thought I was out, they pull me back in.”

[@NetleKiss]

Thanks for the discussion!!!! Every word about this magnificent movies is wonderful! But this analysis is the best, concerning Godfather Part |||!

[@Mokkari77]

Michael's fatal sin in the movie was making Vincent head of the Corleone family ensuring that instead of going legitimate, it will continue into crime for generations to come and cause more suffering. He did it for selfish reasons, to save his daughter. That's why he couldn't be allowed a happy ending.

[@drlarrymitchell]

Pentangelli was great...but he was no Clemenza.

[@lkay44]

I agree with most of your points regarding the changes present in Coda ( and great video btw). However I feel the ending os more effective now and feels more thematically appropriate, and less a figurative "end". I also personally would have kept tye flashback at the end of Michael dancing with Kay and Appolonia. As I feel this truly encapsulated the depths of Michaels loss and that any love in his life is all but gone. As a few other commenters have mentioned it give it a The Irishman feel. Orbeit it's still limited due to what is available to work with. 100% agree with you regarding tom hagen but I must try to make mybpeace with this and accept it

[@kchrules775]

Great analysis. I just watched Coda the other night and it flows much better than I remember the original feeling. The different opening mirroring the first movie was a great choice. Overall I never hated this movie, it really has some brilliant moments, but it’s doomed when you compare it to the first 2. Sofia was basically (even to this day) a scapegoat for the movie’s shortcomings. I noticed some of her scenes were trimmed (one even kind of awkwardly near the 3rd act) but I never thought she was horrible. The incest angle is a rough sell for anyone haha Like you said, you just have to take this movie as it is. I also REALLY noticed this time around that BJ is literally just supposed to be Tom without any relation to the family.

[@PaulKyriazi]

I enjoyed your analysis. Good job. I like Coda as well.

[@wattsnottaken1]

God damn it’s so fuckinf sad when his daughter gets murdered. Makes you realize that there is no peace of mind available when you live that kind of life always looking over your shoulder. “You can’t put a price on peace of mind” - Me

[@djtoona]

My father always thought that Michael, inconsolable and holding the dead body of his daughter, should have eventually pulled it together enough to ask his bodyguard for a gun (as if he is going to personally chase the shooter) and then Michael puts the barrel of the handgun in his mouth and pulls the trigger.

[@JudgementalGoat]

Thank you for this. I'm one of the only souls to actually love the original cut from Godfather 3, Coda taking away Michael's death kills the whole purpose of the movie for me 😢

[@natea2247]

That feeling of "what if" will always linger in my mind when I see this movie and I hate it. I liked "Coda" but I'm always gonna be little disappointed that Robert Duvall couldn't come back and how much of a masterpiece this movie could have turned out.

[@OtakuAnthony]

I still need to see the coda but I never thought Part 3 was a bad film.

[@scottishfilmhistorian]

The first time I saw The Godfather, I deliberately watched all 3 back-to-back (over 3 nights). As a result, I think I had a greater appreciation for it. I could see that III was the complete inversion of I, culminating with Michael dying alone and depressed compared to Vito dying with his family and happy. (Saying this, I preferred Coda's ending where he didn't actually die. It highlights that Michael truly died that night at the Opera with Mary.) This is something that was lost on audiences at the time, understandably, as they weren't expecting a radically different film. Godfather III was unnecessary, as you said, but it was an exploration of what actually happened to the Mafia in real life using Michael as a narrative device. (The perceived loss of honour as it degraded into drugs and prostitution that Vito predicted in I.) It has its flaws, but I think it is underappreciated.

[@rxtsec1]

I'm gonna see a special screening of this this week even though I prefer the original version however seeing the first 2 Godfathers on screen a few times. The second being my favorite & the original being my 3rd favorite. It's about time I get to see part 3 on the big screen though I wish it wasn't the Coda. But that will do

[@EyebrowCinema]

I hope you have a good time.

[@rxtsec1]

@@EyebrowCinema i will & thanks. greatest trilogy ever made

[@billymuellerTikTok]

The Godfather Saga can be summed up in 3 scenes... Vito arriving at Ellis Island, Michael asking his mother if he could lose his family and Michael's death. Vito came to America with nothing, his family having been murdered. he grew up strong and grew an empire. Michael was born into the beginning of an empire, he had no wants or needs, everything handed to him on a silver platter and was being groomed for greatness. Vito died happy - playing in his bountiful garden with his grandson. Michael kills his brother, cannot protect his daughter and loses his wife and son. He dies rich and powerful but alone and with nothing. Michael lost his family.

[@teddyfurstman1997]

I only saw the theatrical cut, so I'll check it out.

[@mauziki]

8:38 horrible acting by Pacino. Never seen it but can see where the hate for 3 is coming from.

[@merkury06]

You made me think of something I never thought of before. If Tom were in the movie, he and Connie could have worked together, against Michaels wishes even, to save the Family, put Vincent in as the new Don and save Michael from himself. Michael needed redemption and Tom and Connie were the only ones to do that.

[@thedarkstranger963]

In the original GF III, there's the scene in the chapel where Neri and Connie give Vincent the order to take Zasa out. Why isn't said scene in GF III CODA?

[@stormbringercoming8105]

Of all the problems with G3, (and there were so many), the biggest was how Pacino played Michael. There was no resemblance between the Michael Corleone of the first two and how he played him in G3. There was no continuity. I couldn’t get past that.

[@maxis4343]

michael corleone straight up lookin like larry david in that death scene