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Originally chosen title for the work: The Death Of Michael Corleone.
I have reflected on the need to write about a work so important. I am an avid lover of the Corleone trilogy, and after reading the previous review of The Godfather Part III, I decided to write something about the story dynamics of the much-debated film and the frequent criticisms it continues to receive after almost thirty years.
The plot and the inner change of Michael are well known: The first two feature films indeed show how love for the family and the necessity of protection towards it transform the discharged soldier into a crime boss who, following in his father's footsteps, elevates a name both feared and constantly on the brink of disaster due to frequent and unexpected attacks from every front.
The humanity of the character, in fact, is now a vase falling apart that the elderly Corleone needs to restore. The assassination of his brother Fredo is a burden he will never be able to shake off.
"It is right for you to suffer" is the only consolation Cardinal Lamberto can offer to exorcise the protagonist's ghosts and to redeem his soul during confession. Michael, in this last chapter written by Puzo and Coppola, indeed, reaps what he has sown, despite the desire to legalize his businesses and to distance himself from the underworld trying to keep him bound. As he himself will say before yet another loss of clarity in a famous line.
The role of the puppet master belongs to Don Altobello. An elderly boss with polite and sweet manners who hides a slimy hunger for power and control. It will be his protégé Connie to poison the Godfather. Much of the film's meaning, in my opinion, can be traced back to this scene and the ominous finale.
The remission that is invoked carries an enormous price.
One of the aspects that made me love the film is the sensual and controversial side represented by the relationship between Vincent and his cousin Mary. Though few, the scenes showing glimpses of their gazes and actions create a sad yet romantic story hard not to appreciate. Quick and painful.
One of the major criticisms was the alleged nepotism of the director, which I find unfounded since Winona Ryder (originally cast as Mary Corleone) withdrew due to various personal reasons, leaving a void in the cast that Sofia Coppola fortunately filled. Her sparse and childish acting, in my humble opinion, makes the young Corleone much more real, giving her that touch of innocence that another actress would have hidden under excessive eroticism.
Andy Garcia I find untouchable in his portrayal of Sonny's illegitimate son, manifesting his father's hereditary traits and maintaining that grit and determination that perhaps cloud him. Only his cousin seems able to calm his thirst for assertion, at least until obtaining the title of Don (The price for the chosen life will be the distancing of Mary, as desired by Michael, who fears the dangers and consequences she might face). An ironic fate.
The mature boss attempts the last climb to legality by obtaining the title of shareholder in Immobiliare, finding (false) support from politics and the clergy. Lucchesi, as deduced in the scene where he listens to his last words before being assassinated,
"Power wears out those who don't have it"
is practically the cinematic portrayal of the controversial ex-leader Giulio Andreotti.
Many faces from the past, like Calò seeking revenge after the killing of Don Tommasino, Vincent's mother (Sonny's lover in a few scenes of the first film), and Al Neri, make an appearance, while there is great disappointment in not finding a mature Hagen (Duvall did not participate in the shooting because he found the income difference between him and Pacino unfair).
Real news events, such as the death of the newly elected Pope, and Vatican scandals are skillfully intertwined with the plot.
I believe that the trilogy's finale, with its Sicilian setting, Cavalleria Rusticana, and the death of innocence (the famous final scene) deserves much respect.
Michael's dance scenes with the women of his life, and his anguished scream followed by a miserable future, are part of something that, in my opinion, goes beyond any cinematic boundary, beyond every form of art, and beyond every perspective. Much to consider and many feelings that Coppola and Puzo (and obviously the actors) have been able to express.
A delicate and evocative soundtrack that I recommend owning.
A monument that falls apart but conveys such passion and pain that it retains its beauty.
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