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In 1990, on a strange Christmas, he performed in America. The godfather iii. starring Francis Ford Coppola starring Al Pacino, Diane Keaton, Andy Garcia and Eli Wallach. The film ended with perhaps the best and most successful trilogy of all time, and while Francis Ford Coppola appeared right on the 30th anniversary with a director’s cut, seemingly little changed, the 1990 version is arguably a masterpiece.
The third The GodfatherThe film was shown sixteen years after the second part and Coppola said he did not want to make it, but the 1981 film Sense his movie was so big it needed money, and Paramount had long been waiting for a sequel. Not all the leads returned: Robert Duvall cut his royalties compared to Pacino’s star gas, but Coppola didn’t bother, wrote Tom Hagen’s character (who therefore nearly died between the two movies) and replaced his drama role with George Hamilton’s character (even if Tom Hagen and Michael’s Relationship would have been more complex if Robert Duvall had returned).
Coppola didn’t do this for the first time: after Richard S. Castellano, who played Peter Clemenza in the first part, couldn’t agree with Paramount, Coppola wrote the character but kept his story, only with a new figure, Frank Pentangeli, formed by Michael V. Gazzo. (Perhaps the most annoying thing about Coppola was that Marlon Brando did not appear on the day of filming for the final flashback scene of the second part, which they had to improvise in this way, and in which Vito Corleone thus demonstrates his absence).
Coppola confessed that he felt like a whole round The Godfather-duology, and he thought of the third part as a kind of epilogue. Today, however, the third part no longer seems secondary: although critics and fans consider this part to be the weakest of the best of all time (if not a better) trilogy, in today’s eyes it would be truncated without it The Godfather-saga. (By the way, critics also received the second part mixed, although it is now considered one of the best sequels of all time).
The first film was a kind of introduction to the secret world of the mafia for the public (about which we write more here): an outsider, the young Michael Corleone, takes the place of his father, Vito, in the crime family and consolidates his power. The second part is mainly about the total doom of Michael: here he not only takes the throne, but also becomes the master of his “profession”, after the initiation ritual of the first part he reaches the top, it is difficult to imagine a mob boss more deadly than him, and worse, finally a brother. He falls into sin, thus losing the love of his wife (while we see in parallel how the family came out of nowhere thanks to Vito Corleone).
In the third part, Michael seeks redemption: as the leader of the mob, he is interested in almost retired legal businesses. But, of course, “just when you think it’s out, they’ll remove it immediately.” His long-dead brother, Sonny’s illegitimate son (also his temperamental reincarnation), Vincent (Andy Garcia’s best character to date) wants to be godfather, rivaling current Joey Zasa (Joe Mantegna) as he embarks on a sinister incestuous romance with Michael’s loving daughter Mary (from Oscar-winning screenwriter and director Sofia Coppola), and the strings are drawn by perhaps the most memorable antagonist of the entire trilogy, Don Altobello (Eli Wallach, The good, the bad and the ugly the character of the title of the latter).
Coppola also weaves into history the barely a month of the papacy of John Paul I and the scandal of the Vatican Bank at that time, which remains faithful to the spirit of the two previous parts, since he and Mario Puzo practically fictionalized the story (legend real) of the Italian-American mafia. knead boxes together. As for the Hollywood world, Frank Sinatra’s alter ego is also included in the trilogy, with the famous horsehead scene from the first film, and Sinatra is said to have had the opportunity to play Vito Corleone and Don Altobello. , though he was furious about the not-so-flattering launch of Mario Puzo’s novel. similarity between him and Johnny Fontane’s character.
And the twisted and twisted movie finale is a crowning-worthy trilogy – one of the best, and again: if not a the best: a scene that Coppola has ever directed, and if directed by Alfred Hitchcock, it could be among the best of his work as well. Coppola, cut in parallel between several plots, takes the hitchcock tension to the top in the great Sicilian opera scene, starring Michael’s son Anthony, while the distorted parties have all the time timed to show off. your enemies. The ending is Michael’s shocking, heartbreaking, and worthy punishment, which in turn makes him perhaps the strangest Christmas premiere movie of all time. The Godfather III.-to.
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