Bennie travels to Buenos Aires to find his long-missing older brother, a once-promising writer who is now a remnant of his former self. Bennie's discovery of his brother's near-finished play might hold the answer to understanding their shared past and renewing their bond.
Francis Ford Coppola
A writer with a declining career arrives in a small town as part of his book tour and gets caught up in a murder mystery involving a young girl. That night in a dream, he is approached by a... See full summary »
As the elder don dies, his young heir moves into the position. He quickly proves to be as ruthless as he tries to discover who has launched a plot to overthrow his rule and may be ... See full summary »
The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
A sergeant must deal with his desires to save the lives of young soldiers being sent to Vietnam. Continuously denied the chance to teach the soldiers about his experiences, he settles for trying to help the son of an old army buddy.
Francis Ford Coppola
James Earl Jones
Having discovered that she is pregnant, Natalie Ravenna (Shirley Knight), a Long Island housewife panics and leaves home to see if she might just possibly have made something different out ... See full summary »
A documentary on the making of the three Godfather films, with interviews and recollections from the film makers and cast. This feature also includes the original screen tests of some of ... See full summary »
Francis Ford Coppola,
Supernova chronicles the search and rescue patrol of a medical ship in deep space in the early 22nd century and its six-member crew which includes a Captain and Pilot, a co-pilot, a medical... See full summary »
This direct-to-video feature re-edits the three Godfather films into one cohesive package. The saga of the Corleone Family is told in chronological order, and numerous scenes that were deleted from each film have been restored. Written by
When Vito Corleone, Clemenza and Tessio are going to the gunsmith the owner's name is Augustino Coppola, later he introduces his son, Carmine Coppola, who demonstrates his flute playing abilities. This scene is a tribute to Francis Ford Coppola's father and grandfather. His father was the first flautist with the NBC symphony under Arturo Toscanini. His grandfather was an actual gunsmith. His father worked in the "shop" from time to time as a child. They both insist the event actually happened. See more »
As the Corleone's pack up to move to Las Vegas, there is a real estate sign outside the compound offering the property for commercial development. Later, Michael meets Frankie Pentangeli in his father's old (redecorated) house. See more »
Alongside Star Wars, this is the best saga in motion picture
The first two episodes of The Godfather have already been critically acclaimed. There's not much of a point in adding to these praises. There have been so many negative critiques of Part III that a commentary in favor of the final episode is due.
Here it is. The last of the trilogy can be appreciated for its consistency with the first two, particularly with the film's loyalty to the recurring theme of the entire saga: family.
Once lineless and rendered obscure to the plot, Lucy Mancini (original actress and all) has returned to the saga after being left behind in Part I. And she has brought a not-so-little remnant of her affair with Santino Corleone with her. Recall the scene in Part I when Sonny leaves Lucy's apartment with his henchmen to pick up his sister. That was perhaps the very moment after which the last Don Corleone was conceived.
Another one of Santino's remnants has returned to the saga in Part III: his twins (Francesca and the other one). They are now grown and still identical, and still adorable too. Remember their line in Part II, Mommy, Daddy's fighting again!" and their inclusion in the Corleone family portrait taken at Connie's wedding.
Also returning are Al Neri, Calo (the Sicilian bodyguard), Tommassino, Johnny Fontaine (voice still intact), and Sofia Coppola even though she posed as Connie's baby in Part 1. Speaking of Sofia, she arouses a touching appreciation of the scene in Part II that shows little Mary Corleone running in a hotel hallway while her parents argue inside the room. And Anthony becomes a paradox to the boy in Part I who is ostensibly imminent to be the next Godfather.
As usual, the political intrigue makes the film exciting if you're paying attention. And the very title of Part III presents a double meaning: third episode, third Godfather. Andy Garcia is perfect for the part (remember him in The Untouchables). As they say in the mob, Vincent Corleone "wears it" when he is ordained Don Corleone, Neri and others acknowledging his throne in the proper fashion. The scene chills you with nostalgia and images of Bonasera kissing Vito's hand, and Clemenza and Rocco Lampone kissing Michael's.
To be honest, Part III is rude to newcomers to the Corleone family. It's presumptuous that viewers will appreciate what's occurring without realizing that this will be the first time many even see a Godfather flick. This is also why so many critics bashed Part III. They critique it as an individual feature instead of an integral episode to a classic saga. Okay, okay...
The shortcomings of Part III comprise the main reason why the Trilogy version must be viewed to appreciate the Godfather saga. Like Phantom Menace, The Godfather Part III is empty without the rest of the story (even though Menace can stand alone better). Yet, like Star Wars, The Godfather is a classic of classics in literature, performance, and cinema: the best in motion picture history.
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