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Posted: |
Dec 13, 2020 - 6:58 PM
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By: |
John Mullin
(Member)
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I think the new version is an improvement in that what's going on is a bit more clear now, however the film is still the film, and it still has some of the issues that it did before. Catastrophic is to me is the absence of Robert Duvall. He was the heart of the 2nd movie, and not having Tom Hagan's relationship with Michael in the third movie simply makes it feel incomplete.
I never had a problem with Sophia Coppola as Mary, honestly, but if her performance grated on you originally, you may have the same reaction with her performance now. Nevertheless, I've always kinda liked the movie, disappointments and all, and I think this new version is a step up.
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I'm not going to chuck away the 1990 cut. I miss the flashbacks in the new "Coda" - especially John Cazale's Fredo. Michael Corleone's feelings of guilt about ordering that hit are muted here, but it was more of a driving force for him in the '90 version.
The flash-forward of elderly Michael has been curtailed (leaving his fate ambiguous), but why leave it in at all? The tragedy that happens on the opera house steps is where the film should end - that is the true (symbolic) "Death of Michael Corleone."
The only other new edit that stood out was Sofia Coppola's Mary stating "No," when her father asks her to stop seeing her cousin Vincent, and we then suddenly jump to her and Vincent in a room together acting all cow-eyed with each other to the dulcet strains of Elvis Costello. To somebody seeing Godfather III for the first time with this version will probably find this a natural cut, but the abruptness is jarring to someone like me familiar with the '90 cut.
Otherwise, GIII remains a fine, compelling follow-up to the 1970s classics with a Greek tragedy structure. The much-criticized performance by Sofia has always worked fine for me - her coltish warmth with both her father and Vincent comes across sincerely, as does her heartbreak at feeling betrayed by both men later on. Her "dull surprise" moment at the climax - laughable to some - strikes me as what would really occur in such a moment, rather than the histrionics a seasoned actor going for a Oscar-baiting big moment would do.
The intercutting of scenes from the opera being watched - Cavalleria Rusticana - which have frustrated some viewers - work beautifully in juxtaposing what's happening on stage (what a beautifully designed production as well, by the way) with the fatal machinations going on that same night. The melodrama of this "verismo" also prepares us for the melodramatics of what happens on those steps...
P.S. For some reason, the first half of this film's title is being printed, including here and Wikipedia, as The Godfather, Coda:, but on the title screen in the movie itself it's written as The Godfather Coda: - no comma.
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Here ya go henry
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Nuffin to be sorry for Henry, i just remembered it was a good thread.
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Is Sophia Coppola still in G3 redux? If so, I'm out. (Her performance in G1 was much better!)
Yeah, but she was given a lot more to work with, and better dialogue in G1 
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