Al Pacino

  • The Godfather: Part III (1990)

    The Godfather: Part III (1990)

    ByChristian Sauvé Movie Review

    (On DVD, December 2009) This “Part III” has a bad reputation only when it’s compared to its two classic predecessors.  While it’s pretty good filmmaking, it’s just not up to the standards set by its prequels.  It’s not bad when considered as a straight-up epilogue, but then it runs into the vexing issue of being nearly three hours long, which really isn’t appropriate for the type of story it tries to be in the Godfather universe.  Part of the problem is that by going to Italy and spending a lot of time dealing in Vatican business, The Godfather III gets farther and farther away from the all-American core that made the success of the first two films: The issues get more abstract and diffuse, and the plot seems to over-complexify itself.  There is a noticeable lull near the middle of the film, and all of it contributes to the feeling of an overlong experience.  Acting-wise, it’s Al Pacino and Andy Garcia’s show: Sofia Coppola may be the most attractive performer in the entire trilogy, but her much-derided performance, all mushy-mouthed and indifferent, is another of the reasons why she’s become a far better director than actress.  More happily, though, the film works more often than it doesn’t, and while some elements that made the first film now feel familiar (the opening celebration/introduction scene; the final operatic barrage of violence), it’s handled with a lot of lavish skill by director Francis Ford Coppola.  Conventional wisdom is correct: Not a bad film, but a let-down compared to its lineage.

  • The Godfather: Part II (1974)

    The Godfather: Part II (1974)

    ByChristian Sauvé Movie Review

    (On DVD, December 2009) I may not entirely agree with assessments that this sequel is superior to the first film (which seems just a bit more focused that the follow-up), but there’s no denying that the two Godfather films feel inseparable: The first flows into the second one with fewer differences than one would expect, and the second one actually makes the first one feel even better when taken together.  Once again, a really young Al Pacino runs the show, although he’s joined (in entirely separate sequences) by an equally-young Robert de Niro.  Acting both as a prequel and sequel to the original, this “Part II” creaks at more than 200 minutes: the entire prequel alone could have been spun off in its own film.  The Godfather II itself has the feel of a vast epic, with multiple plot lines, grand lavish scenes (including another lengthy party sequence that acts as essential scene-setting), multiple locations, a bit of historical drama and a large cast of characters all headed for destruction.  Even then, there’s a lot that simply isn’t shown, and when the film ends, it feels as if it does so a few scenes too soon.  It’s the nature of the charm of the films that betrayal and violent death is always somewhere in the assumed background of the character’s action: one wrong answer and goodbye!  What may be The Godfather II’s most astonishing achievement is that it actually makes its predecessor even better, by presenting a story with even-bigger implications, digging into the characters and tying off a few grander arcs.  This is big, big-scale filmmaking by Francis Ford Coppola, and it’s a bit of a shame we don’t get such movies anymore.

  • The Godfather (1972)

    The Godfather (1972)

    ByChristian Sauvé Movie Review

    (On DVD, December 2009) It’s easy to think that you know The Godfather without having actually seen The Godfather: Few movies have become as integral to American pop culture as this one: You have seen the parodies, heard the references, watched the rip-offs, caught bits and pieces of the TV broadcasts, maybe even played the video game.  But nothing replaces a good lengthy sit-down with the film from beginning to end: Clocking in at slightly less than three hours, The Godfather is a sumptuous piece of work.  Finely mastered, superbly written and featuring a cast of characters that directors would kill for (most notably an impossibly young Al Pacino), it remains an impressive piece of work even after nearly forty years of cultural impact.  Although the innovation of presenting gangster protagonists can’t be properly felt now compared to 1972, The Godfather keeps making an impact through sheer film artistry: All the pieces selected by director Francis Ford Coppola click together in a satisfying fashion, and the much-quoted segments only add to the film.  With a large cast of character and a story that sprawls over a decade following WW2, the script makes few concessions to inattentive viewers.  (It also takes risks that would doom other films, such as setting much of its first half-hour at a wedding reception.)  Most curiously, it’s also a film that feels more rounded by its equally masterful sequel.  Why is it that they don’t make movies like that anymore?