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The Godfather: Part III (1990)

R  |   |  Crime, Drama  |  26 December 1990 (USA)
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Ratings: 7.6/10 from 240,990 users   Metascore: 60/100
Reviews: 535 user | 106 critic | 19 from

In the midst of trying to legitimize his business dealings in New York and Italy in 1979, aging Mafia don Michael Corleone seeks to avow for his sins while taking a young protégé under his wing.

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Title: The Godfather: Part III (1990)

The Godfather: Part III (1990) on IMDb 7.6/10

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Nominated for 7 Oscars. Another 4 wins & 12 nominations. See more awards »



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Cast overview, first billed only:
Franc D'Ambrosio ...
Richard Bright ...


In the final instalment of the Godfather Trilogy, an aging Don Michael Corleone seeks to legitimize his crime family's interests and remove himself from the violent underworld but is kept back by the ambitions of the young. While he attempts to link the Corleone's finances with the Vatican, Michael must deal with the machinations of a hungrier gangster seeking to upset the existing Mafioso order and a young protoge's love affair with his daughter. Written by Keith Loh <>

Plot Summary | Plot Synopsis


Real power can't be given. It must be taken. See more »


Crime | Drama

Motion Picture Rating (MPAA)

Rated R for violence and language | See all certifications »

Parents Guide:



Official Sites:




| | |

Release Date:

26 December 1990 (USA)  »

Also Known As:

Mario Puzo's The Godfather: Part III  »

Box Office


$54,000,000 (estimated)


$66,676,062 (USA)

Company Credits

Show detailed on  »

Technical Specs


| (Extended Blu-ray Edition)

Sound Mix:

(70 mm prints)| (35 mm prints)



Aspect Ratio:

1.85 : 1
See  »

Did You Know?


Michael tells Vincent to "never let anyone know what you're thinking." His father Vito told Vincent's father Sonny the same thing in The Godfather (1972). In that case, though, the positions are reversed: Sonny wanted to do business with Sollozzo, which Vito refused to do. Vincent wants to strike back against Joey Zaza, while Michael encourages diplomacy. See more »


When Corleone allows himself to be shaved a towel is placed over his left shoulder. A second later it is shown on his right shoulder. However when the towel is placed on his shoulder he is seen reflected in his shaving mirror and the shot switches to a non reflected shot so it is actually on his right shoulder to start with. See more »


[first lines]
Michael Corleone: [voiceover] My dear children: It is now better than several years since I moved to New York, and I haven't seen you as much as I would like to. I hope you will come to the ceremony of papal honors given for my charitable work. The only wealth in this world is children; more than all the money, power on earth, you are my treasure.
See more »

Crazy Credits

"Dedicated to Charlie Bluhdorn who inspired it." See more »


Referenced in The Bad Boys of Saturday Night Live (1998) See more »


Music by Carmine Coppola
Lyrics by John Bettis
Performed by Harry Connick Jr.
Produced by Harry Connick Jr.
Harry Connick, Jr. courtesy of Columbia Records
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

If you enjoyed the first two, spare yourself the agony of this one
27 November 2001 | by (Canada) – See all my reviews

-This movie is awful on two counts: as a finale to the trilogy and as a stand-alone film. This shows in the poor character development, the abundance of meaningless shots, and lastly, and most importantly in my mind, the meaninglessness of the dialogue. -All of the integrity of the characters from the first two Godfathers is completely done away with in the first sequence. -Michael, a taciturn, introverted, calculating megalomaniac in the first two films is lavish, loose-lipped, pathetic in his control over his family, and careless as he never was and never would have been by the first two movies. -Constanza is all of a sudden involved in the family affairs. Joe Mantegna plays a terribly thin enemy of the family, Joey Zasa, but can't be blamed as an actor with such a flimsy script. Andy Garcia overacts every one of Vincent Corleone's lines and every step--he practically goosesteps. Tom Hagan is missing and leaves a giant hole. It doesn't matter that Sofia Coppola can't act, because she had nothing to work with anyway--she plays a whinging, incestuous brat poorly, but convincingly (!). -The first dramatic sequence involves a conflict between Joey Zasa and Vincent mediated by Michael, who is trying to go legit, but can't seem to do it. Vincent tries to convince Michael that Zasa is "an enemy" in a very un-Godfatherly manner: a) he does it right in front of Zasa, b) he does so simply because Zasa supposedly says, "F*ck Michael Corleone," behind his back, and c) he disobeys Michael right in the room by biting Zasa's ear off. -This is juvenile drama. There is no tension that lasts longer than a sequence. There is no reason motivating the characters. There is no real respect for anything--all the subtleties of the family traditions are stomped on, which makes the highly visual sequences, loaded with symbols, cheap because the symbols mean nothing to the characters. -The haughty diction is only pretension void of any understanding of respect and the values that drive the family and Michael in particular. Michael, a very chiseled character in the first two movies, becomes paper thin, with no real idea that is central to his action. All his actions in the first movie and the facades he puts on as Don in the second movie show an aspiration to an ideal or, at least, an aspiration to appear as this ideal. He has none of this in the third film and this change of character doesn't happen on screen, nor is it explained. We're left only to believe that Coppola and Puzo tore this one off in a frenzied weekend when the purse got light. -The story lacks direction, focus, has nothing in particular to say, but that's not condemnable unto itself. The dialogue, however, is worthy of a pair of misguided high school kids who watched the first two movies and figured they knew what respect was because they saw one guy shoot another and a bunch of people get scared. None of the dialogue is loaded with the layers of meaning and subtlety that exist in the first two. All the characters are brash and stereotypical, or, in the case of a few, like Enzo the Baker and Bridget Fonda's character, tokens and a waste of celluloid. -Though Godfather III isn't worth its score in Scrabble, it is, however, a testament to Pacino as an actor, that with such flimsy stuff he still manages to act compellingly.

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