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By buying the Vatican's shares, he'll be bailing out the corrupt Vatican bank.
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In a needlessly confusing main plot, Michael tries to take over a European conglomerate called International Immobiliare. The film still has problems that no amount of editing can change. Michael, a billionaire living in New York, has made his businesses legitimate and is left to grapple with his guilt for so many crimes, especially ordering the murder of his brother Fredo, who betrayed him. The consequences of his decision are central to Part III, which takes place in 1979, 20 years after the events of Godfather II. The young Michael struggles with the idea of killing and crime in the first Godfather. The Godfather Coda tells us that crime really doesn't pay when you're ready to search your soul.
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Beneath the Mafia-friendly surface, though, they are built on ethical themes their more hot-headed characters don't grasp. Crime movies like Coppola's and Martin Scorsese's are so seductive that audiences have embraced them for apparently glamorising the love of raw power and the concept of honour among thieves.
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Then and now, the series has largely been misunderstood.
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It is an odd example of a movie whose reputation has declined over the decades. It even got seven Oscar nominations, including best picture and director. Coppola had resisted making another Godfather for years, then wrote the screenplay (with Mario Puzo) and edited it in a rush to meet its Christmas Day release. "I don't think it's going to be a public humiliation." Expectations were high because of the legacy of the earlier films, yet low because Part III came with a whiff of desperation and of selling out. Pauline Kael did not love or hate it, but offered the withering, condescending assessment. The film's initial reception was measured disappointment, not dismissal or horror as we now assume. He wanted The Death of Michael Corleone to be the title back in 1990, but Paramount, the studio releasing it, did not. "For me the tragedy of The Godfather, which is the tragedy of America, is about Michael Corleone," he says in the extras on a DVD set of the three films released in 2001. He just happened to be a mob boss.Ĭoppola was always lucid about the trilogy's vision, even when others were confused. But the new version clarifies Coppola's epic vision, revealing how much the Corleone story was always Michael's, a deeply moral saga of guilt and redemption.
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They have penetrated the culture, from their language ("I'm going to make him an offer he can't refuse") to their quintessentially American story of immigration and upward mobility. It is too flawed to come close to the accomplishments of The Godfather (1972) or its sequel, both among the most towering and influential films of the 20th Century. But until its altered ending, it is fundamentally the same film, better in parts than as a whole. Twelve minutes shorter, it rearranges some key episodes, eliminates a few minor scenes and trims a line here or there. And the word 'death' signals its dark inevitability, although the meaning of that word is slipperier than it first appears. Calling it a coda emphasises its connection to the earlier instalments, and even hints at its lesser stature. It now has the title Mario Puzo's The Godfather, Coda: The Death of Michael Corleone. Hindsight alone would tell us how seriously the film has been undervalued, even without Coppola's newly restored, re-edited and renamed version.