The Godfather Trilogy (1972-1990)

The Godfather (1972)

Dir. Francis Ford Coppola

Even though Mumble Brando sounds like a man with a gob full of marbles, his diction literally governs the first part of Coppola's Mafia trilogy.

The Godfather's words linger, influencing scenes he isn't even a part of. His voice whispers innocuous assurances while his persona threatens: all who come seeking Don Vito's aid leave thinking themselves fortuitous but each one leaves bent to his will, crippled by a future repayment favour.

The remainder of the film is electrically charged by Al Pacino and James Caan. For both men the Corleone name opens doors and closes coffin lids.

Dir. Coppola is self-indulgent in the first half hour but assuredly precise with the story and with his direction once things really kick off.

The Godfather: Part II (1974)

Dir. Francis Ford Coppola

Part II is a sequel, as you’d expect, but also a well-timed prequel showing how a young Vito Corleone (played by Robert De Niro) rose from village youth to absolute power, attaining the position the films are named for. It’s so good that it could've easily been the beginnings of a standalone film, but perhaps then the dramatic contrasts with the later years would've been somewhat lessened.

In the present the Don faces challenges from a number of different directions, some a product of the changing times and some a product of things unchanging. He’s away from the family home a lot of the time, but the weight of duty isn't something that can be boxed up and left behind.

It's a close call between this and Part I, but like many fans I think II is my favourite of the trilogy.

The Godfather: Part III (1990)

Dir. Francis Ford Coppola

I find it's best to view Part III similar to how Dir. Coppola reportedly does, as an epilogue to the Godfather's story as told in Parts I and II.

A mournful tone segues into the familiar large family gathering, a setting wherein the current Don is lavished with honours and respect.

His move into more legitimate business affairs gives the film a different kind of edge, but it's one that's dulled by a screenplay that feels stretched thin. In addition, the appointed successor to the Corleone name is never fully able to step out of the shadow of the characters/actors that came before. Even when considered as a counterpoint, it's not as satisfying as it could've been.

Al Pacino and Talia Shire are great (and for the record I don't think Sofia deserved as much negative criticism as she subsequently received), but the highlight is the superb finale; staged at an opera it is itself a beautifully orchestrated piece of pure drama that helps wash away the feelings of disappointment that for a large portion of the running time threatened to linger.