10 Reasons why The Godfather Part III is crap
The Godfather Part III - Mary


by Andrew Collins

1. Coppola did it for the cash: Paramount offered him $5 million and 15 per cent of the gross. “It’s not just something I’m doing because I want to make a lot of money…” he insisted, unconvincingly.

2. No Robert Duvall: Paramount offered him about a fifth of Pacino’s $5 million. He demanded $3.5; they wrote Tom Hagen out of the script. (That George Hamilton took the role of “adviser” B.J. Harrison says it all.)

3. Sofia Coppola: Brought in when Winona Ryder had a nervous collapse, her lack of acting experience caused many a raised eyebrow on set. One member of production staff said, “She has this teeny little voice like a girl, Francis has fucked the love story.” Even her auntie, Talia Shire, had doubts.

4. The red cardigan: In an attempt to suggest old age, Michael wears a horrible crimson cardy.

5. It’s a copy: In an attempt to infuse the film with its forefathers’ greatness, it resounds with visual and thematic echoes: a religious ceremony to open; a large family occasion with group photograph; a bit where a large cake is ceremonially cut; Michael has saved the drawing given to him in Part II by little Anthony, and gets it out to show him; they even go back to Palermo in Sicily.

6. It’s got opera in it: The running-around, up-and-downstairs, opera-set climax is like a Marx Brothers farce.

7. Rolling the little bread things: The courtship of Mary and Vincent is, at best, limp. When he climactically shows her how to make the “little bread things” by holding her hand — “I love you”, “I love you” — the audience shrugs.

8. What is all that Pope stuff?: Part III is steeped in religious themes, to the point where a reflective Michael is encouraged to confess his sins but simply doesn’t have the time. Parts I and II got by with a little poignant Catholic symbolism, Part III is like Praise Be with Thora Hird.

9. Hail Mary: Early on, Talia Shire asks a guest to hail Mary. Good joke.

10. It’s boring: God, it’s boring.

Source: Empire n.86, August 1996


Leave a Comment

Your email address will not be published. Required fields are marked *

Read More

Apocalypse Now - Dennis Hopper

Apocalypse Now (1979) – Review by Stanley Kauffmann

When I read three years ago that Vittorio Storaro had been chosen as the cinematographer for Apocalypse Now, I was shocked. Storaro, the lush Vogue-style photographer of Last Tango in Paris and The Conformist, for a picture that was being billed as the definitive epic about Viet­nam!

The Power of Adaptation in Apocalypse Now

In The Power of Adaptation in “Apocalypse Now” Marsha Kinder critically compares and contrasts the film and the novel. In this article, Kinder states that “Coppola rarely hesitates to change Conrad’s story-setting, events, characters-whenever the revision is required by the Vietnam context.”