The Godfather, Coda: The Death of Michael Corleone

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Henry Louis R Two of the biggest problems with Part III are 1) the scenes are literally out of order, making the plot unnecessarily convoluted & 2) the screenplay is just not up to the standard set in the first two films. Coda fixes the first problem but cannot fix the latter. Rated 4/5 Stars •  Rated 4 out of 5 stars 06/16/25 Full Review Garrett B A well made conclusion to the Godfather Trilogy. Rated 5/5 Stars •  Rated 5 out of 5 stars 06/16/25 Full Review Richard V While not the best in the series. It’s It’s still worth watching and it stands alone as a great movie all by itself. Some of the casting calls a questionable but it’s still delivers the conclusion to the story that we love in the end. Rated 5/5 Stars •  Rated 5 out of 5 stars 05/04/25 Full Review Erwin Q Part 3 is an outstanding film that grows in popularity for three reasons. 1) It has the best ending of all three Godfather films. 2) Part 3 is the best modern interpretation of Shakespeare's King Lear. And 3) The clever use of allegory and metaphor in Part 3 elevates the artistic merit of the story by showing that the Coppola's became the family that Vito Corleone always wanted. Only the best artists know how to use allegory as well as Coppola in Part 3. Coppola uses an opera that his father conducted, Cavalleria Rusticana, with his uncle Anton seen conducting in Part 3, to show that Michael has failed to live up the the standard of rustic chivalry set by Vito. The incestous relationship in Part 3 is a reference to the Oedipal complex of King Lear where Lear's daughters are married to men very much like their father. Mary was attracted to Vincent because he represented the side of Michael that she was fascinated with, but not allowed to know. That relationship is also a reference to Coppola's grandparents, who were also first cousins, but married out of compassion because the face of Coppolas Grandmother was disfigured. Coppolas Grandfather, realizing that no men would marry her and that she might grow old alone, offered to marry her so that she could have children, knowing the biological risks. The moral judgment to marry out of compassion became a blessing. The Coppola descendants were not only healthy, but also hyper talented. Coppola cast Sofia to represent both the Coppolas and the Corleones with specific instructions to not act, but be herself and preserve the realism of the dialogue based upon conversations within the Coppola family. This highlights that the Coppolas are not criminal predators, like the Corleones. The Coppolas are a family of artists who make positive contributions to society. Mary dies in Part 3 from the sins of the Corleones while Sofia continues to thrive in real life by the virtues of the Coppolas. This can also be said of Nicholas Cage and all of the Coppola children. Rated 5/5 Stars •  Rated 5 out of 5 stars 04/17/25 Full Review Frank H The underrated, albeit superfluous third and final entry. A film that Coppola himself didn't want to make, but was pressured under contract by the studios after a string of box office flops by him. Even so, while it isn't as good as the first two, it's still and excellent film, and this newly edited and renamed 'Coda' version is probably the best way to see this final entry, although that it disputed. Rated 4/5 Stars •  Rated 4 out of 5 stars 03/06/25 Full Review Tom R Does not hold a candle to the first two films, and at times it truly feels cringey. But this trilogy capper still has its moments. Rated 4/5 Stars •  Rated 4 out of 5 stars 11/28/24 Full Review Read all reviews

The Godfather, Coda: The Death of Michael Corleone

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