THE GODFATHER PART III

US, 1990, 173 minutes, Colour.
Al Pacino, Andy Garcia, Joe Mantegna, George Hamilton, Talia Shire, Sofia Coppola, Eli Wallach, Bridget Fonda, Raf Vallone, Donal Donnelly, John Savage, Helmut Berger.
Directed by Francis Ford Coppola.

The Godfather Part III comes 18 years after the original Godfather film. It is surprising how much nostalgia there is after all the years. The Corleones were ruthless. But now, time has passed and it is time for possible redemption, at least confession and asking forgiveness. Al Pacino gives a fine performance as the ageing Michael Corleone. In fact, the three films are really the story of Michael Corleone.

The plot focuses on the troubled Vatican Bank and the ecclesiastical-Mafia-multinational corporation intrigues of the early '80s (with some errors of fact concerning the dates of Paul VI's illness and death, but using the murder conspiracy scenario for the death of John Paul I).

Director and co-writer Francis Ford Coppola orchestrates Mario Puzo's characters with finesse: long set pieces like the opening Papal Awards ceremony and party to the final opera and killings, sharp violent bursts like the helicopter massacre in Atlantic City. `Opera' is the key work. This is the most operatic of the three films with the finale echoing the performance of Cavaliera Rusticana.

One's attention is always held by the characters and incidents - and the continued promise of mellowing. The cast is excellent: Oscar-nominated Andy Garcia the ambitious thug, Talia Shire a more dominating Connie than in previous films, Donald Donnelly as the Vatican archbishop, Raf Vallone as the cardinal who becomes Pope. Sophia Coppola, the director's daughter, stepped in at the last moment for the role of Mary. Not as wide-ranging as the earlier films but it makes the myths of the Mafia code alluring.

1. The impact of the Godfather saga over two decades? The quality of this sequel? In relationship to the other parts?

2. The work of Mario Puzo, his characters, insight into Mafia, codes and relationships? Sicily and families? Francis Ford Coppola's vision?

3. The New York settings, Rome, Sicily and the beauty of the countryside? Locations and the feel of Sicily?

4. The editing and pace? The set pieces and their length, smooth-flowing: the initial ceremony, the board meetings, the assassinations, the tour of Sicily, the opera and the final deaths?

5. The operatic style of the film? The use of opera, Cavaliera Rusticana. The operatic drawing of the characters, interactions, emotions? Fluid flow of images like music? The intercutting of opera with the final deaths? Opera as Italianate? Rustic in Sicily, violent, sexual, religious? The other musical score - with the familiar themes? The final song?

6. The church and religion, Italianate Catholicism, statuary and processions, pomp and ceremonies, vestments and style? In the United States? In the Vatican, in Sicily? The religious motifs and images?

7. The background of the American Mafia, the links with Sicily, orders coming from Sicily? The casinos and violence? The Mafia attempting to go legitimate in the '70s?

8. The background of the Vatican Bank scandals? The Irish archbishop and the money deals? The honouring of Michael Corleone and the ceremony? The irony of the press asking questions about Mafia background? The Vatican Bank and the deals, Michael's donation to Sicily, the use of the money in speculations? The offering of the money to bail out the bank? The bargaining? Places on boards? American interest and European business style? The European group against the Americans? The Papal permission? Meetings and clashes? The illness of the Pope, his death? The new Pope, the opening up of investigations? The consequences of the inquiry? The death of John Paul I?

9. The atmosphere of Catholicism, the ever-present clergy, Mafia chaplains? Archbishops and Rome? Priest assistants? Tom Hagen's son and his work in America, getting a job in the Vatican? Cardinal Lamberto, the good bishop in Sicily, the confession of Michael Corleone? The Conclave, the votes, his acceptance? His activity as Pope - genial, holy, integrity? The sister coming and finding him dead?

10. Al Pacino's portrait of Michael Corleone: audience prior response to him with the earlier films? The Papal honour, his age and retirement, seriousness? The letter to his children, the invitation? Their presence, Kay and her husband? The elaborate reception, the singing, dancing? His doing business? His friends? The talk with Kay after eight years, Anthony wanting to drop out of law and study music? His agreement? The gangster and his henchmen being present? The interview with Michael? Vincent and his pushing his way in? Relationships? Don Corleone and his mediation, the pledges, Vincent biting the gangster chief? The archbishop and the donation, the speculation on the money? The plan for bailing out the Vatican Bank? His adviser, going to board meetings, the Europeans and their hostility? Michael Corleone and his relationship with his daughter, with his son, memories of Kay? The visit to Atlantic City, the businessman, the casinos - and the attack by helicopter and the massacre? Vincent saving him? His going home, arguing, the diabetes, his being in hospital, Kay's visit, Anthony's visit and the invitation to the opera? Mary? The background of the family friend and adviser, godfather to Mary? His double deals and connections? Surviving Atlantic City? Michael getting better, going to Sicily, the beauty of the countryside? Don Tommassini and his servant? Memories of the past, plans, information about Mary's godfather? The change of heart - the possibility of being weary with life, the encounter with Cardinal Lamberto and his actual confession after 30 years, his treatment by the cardinal? His admiration for his integrity? Lamberto becoming Pope? Kay's arrival, the happy tour of the island - the irony of the murderous Punch and Judy show? His attitude towards Vincent and Mary, forbidding them to see one another? His plan for handing over - and the command for Vincent to leave Mary? The build-up to the opera, the advice about the Pope's death, the henchmen being sent to do the executions? The happiness of the opera and Anthony's achievement and the intercutting of the deaths? Mary and her anger, the discovery of the plot, on the steps of the opera house, Mary shot? His grief at her death? His sitting alone as an old man and falling dead? The possibility of acknowledgment of sinfulness, possibility of redemption?

11. Mary, the wilful daughter, love for her father, chairing the Sicilian fund? Her attraction towards Vincent and approaching him? The visits, the relationship with her father, his warning her against Vincent? Sicily, Vincent and his explanations that he had to separate from her? Her sadness? The opera, confronting her father, dying instead of him? What she might have been as the chief of the family? The contrast with Anthony, not wanting to study law, relationship with his mother, stubbornness, the music, the achievement in the opera? His love for his father while wanting to distance himself from his business?

12. Kay, the change and her remarriage, the house and its memories, the photos, eight years? Her relationship with her children, her plea to Michael to let Anthony study music? Visiting Michael in hospital? Going to Sicily, the tour with him, her love for him - and then the business intervening, `It never ends'? Her grief at the death of her daughter?

13. Vincent as Sonny's son, his temperament? Illegitimate? Being pushed by his mother? Coming in to the party, the leather jacket, forcing his way in? His confrontation with the gangster chief, biting his ear? Talking about the gangster's attitude towards Michael? Impressing Michael with his loyalty? The encounter with Mary, discovering who she was, the infatuation? Placed beside Michael in the family photo? The various jobs, belief in the family? The night with the journalist and the killing attempts, his ruthlessness and saving her life, killing the assassins? Bodyguard for Michael? Atlantic City, rescuing him? The Italian festa in New York City, the plan to kill the gangster, dressed as the policeman? Plotting with Michael, the plan, to go with the family friend and godfather, professing loyalty, infiltrating and getting answers? His success, Michael offering him the command of the family, the code, the pledges of loyalty, breaking with Mary? His ambitions and his decision to do this? Breaking it to Mary? Homage to the Don? In the opera house, care of the guards? The ending?

14. Connie, her strong presence, singing at the reception, her intense loyalty to Michael? Love? Favouring Vincent? Her ruthlessness at the various meetings? Her poisoning the godfather at the opera? A ruthless Corleone?

15. The family friend and godfather, at the ceremonies, the deals? At Atlantic City - and his surviving? His plotting, in Sicily, hiring the assassins? The betrayal, the contract on Michael? Eating the birthday gift and dying?

16. The Sicilian assassins and their ruthlessness, father and son, the son braying, being bought, as clergy, shooting Don Tommassini, in the opera house, the old man's skill in deceiving the guards and killing them? The change of plan, the assassination attempt on the steps, Vincent killing him?

17. The adviser, answering questions at board meetings, arranging deals, deaths? The international board? The various nationalities? Their stances? The head of the board and the revelation of his speculations and embezzlement?

18. The world of business, deals, plots? The final assassinations - the archbishop shot in the Vatican? The Sicilian chief stabbed by the servant getting revenge for Don Tommassini, with his glasses? The board chief and his murder, being hanged under the bridge?

19. The journalist, her ambitions, the questions, at the party, the liaison with Vincent, the dangers, her almost being killed?

20. Italians and Italian Americans? Sicily, the centuries of vengeance and the Mafia, protection, the codes? Changes in the United States? Business, family honour, violence? The operatic style of such codes?

21. Coppola and his presenting the Mafia with insight - and the myths of good and evil in the Mafia?