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Anthony is already aware of his having ordered the death of his brother at the film’s outset and Mary learns of it as the story progresses. You really get the sense from the performances given by Pacino, D’Ambrosio and Coppola that Michael’s work has driven an emotional wedge between him and his children. The difference is that now, he can see the error of his ways and wishes to redeem himself, which will prove over the course of the film to be no easy task. From the outset, we get a vivid impression of Michael as a character who is just as haunted by the ghosts of his past as he was when we last saw him at the end of the previous installment 20 years earlier, if not more so. We hear a voiceover of Michael writing to his adult children, Anthony (Franc D’Ambrosio) and Mary, telling them of his regrets at having drifted apart from them in recent years. The film opens with haunting, mournful shots of the boathouse at the Corleone compound in Lake Tahoe, Nevada where Michael oversaw the execution of his brother Fredo (John Cazale) in The Godfather Part II. While it’s clearly the weakest film in the trilogy, The Godfather Part III is arguably more emotionally powerful than its predecessors as a straightforward human tragedy. Matters were not helped by the fact that Coppola had no option other than to cast his daughter Sofia, then a 19-year-old with no acting training, as Michael Corleone (Al Pacino)’s 26/27-year-old daughter, Mary, when Winona Ryder unexpectedly dropped out of the role.
THE GODFATHER PC LOCK WALKING SERIES
Co-writer/director Francis Ford Coppola conceived it as both an epilogue to the preceding two films in the series and a grand, operatic resolution of the questions they posed, and this was undoubtedly a factor in the distinctly mixed reception that greeted its late 1990/early 1991 release. The Godfather Part III is preceded by a dire reputation among moviegoers and critics alike.