The filmmaker’s daughter Sofia Coppola remains terribly misunderstood as Michael’s beloved daughter Mary, and her romance with her first cousin Vincent Mancini (Andy Garcia) remains the same as 30 years ago. It’s tingling. (Sorry, there’s still no way to dress up incest between your first coppola and make it a tragic romance between cross-star lovers destined for the family business.) Mary undertaken It’s not all Sofia Coppola’s fault, as it’s missing. There is a real motive beyond wanting to fall in love with her cousin, but a stronger actress could have transcended the little things on the page for her to play. Mary will eventually have a devastating blow to her father’s futile redemption attempt. She says at some point she wants to get closer to her dad, but we never witness the true alienation between them. Indeed, she looks like an apple in his eyes. Tony, the brother of her ambitious opera singer, has an icy relationship with her father.
Garcia, as Sonny Corleone’s illegitimate child Vincent, brought the coveted charisma and energy shock to the whole, where Sofia Coppola couldn’t bring any more to his role. Succeeded. However, Vincent lacks the gravity and melancholy of the Godfather characters of the past. Even his dad Sony had more nuances and dimensions. Vincent is one note throughout, a vicious hothead, and the final graduation to become the new godfather feels painful. He may be loyal to Michael, but he only got a job because no one else was in line by then. The surrogate father-son bond between Michael and Vincent hasn’t been explored much, and Michael firmly believes that it needs to be stopped, but the daughter and brother’s son are romantically involved like you. I’m not so surprised at what I’m doing I think I’ll be a father. (He’s more angry that Tony doesn’t want to be a lawyer.)
All this says that despite Coppola’s scene readjustments and major cuts, the Godfather and Coda still have deep enough flaws to prevent the movie from getting as good as the first two chapters. That is. But it’s a slightly better version of the same movie, losing the original “Michael wins the Pope’s medal” sequence and in a more subtle way by using Archbishop Gilday and Michael’s meeting on Catholic church debt. We reach that point-and the bid for Michael to acquire a stake in the church of the company Immobiliare is as a driving force for everything that will happen. This was a wise change to quickly establish what Michael wanted: redemption (even if he had to buy it) and the legitimate future and luck of his family.
Another notable difference is the end of the movie that caused laughter in the theater when seen in the theater in 1990. Without giving too much, Coda has a shorter and darker resolution than what was seen in theater cuts. It doesn’t redeem the terribly flawed nature of the film, but it certainly has a better ending than what we’ve had over the last 30 years.
And while I’m personally interested in all of the Vatican Bank plots, the movie is so obsessed with these tricks that I’m losing track of what that means for the character. The film serves the plot, not the character, and the details of the Immobiliale deal are the tragic (albeit going in the wrong direction) romance between Mary and Vincent and between Michael and his children. I’m getting much more screen time than my relationship.
The cinematography, production design, and overall aesthetics of this final godfather movie remain as pessimistic and gorgeous as its predecessor, which is a well-captured element of this vibrant new Blu-ray and digital transfer. .. Francis Ford Coppola may have improved with the first release on this coder, but even a slight rework of this material could improve Sofia Coppola’s performance and make new characters more attractive. , The center plot never separates.
The most disappointing third movie in the trilogy