It’s a simple change – merely shifting the placement of one key scene – but a brilliant one. We have no interests or investment in anything illegitimate.” The deal is made. “All businesses having to do with gambling. “We’ve sold the casinos,” Michael assures the Archbishop. Michael has a suggestion: the Corleone family will make a large donation, in exchange for the Vatican’s controlling interest in a valuable international conglomerate, Immobiliare. The most radical, and most effective, of the changes comes right at the beginning, as Coppola now opens the picture with a scene that previously appeared about a half-hour in to “Godfather III,” in which Michael ( Al Pacino) is asked for significant financial assistance from Archbishop Gilday ( Donal Donnelly), the head of the Vatican Bank. READ MORE: Oscar Isaac & Jake Gyllenhaal To Star In A Film About The Making Of ‘The Godfather’ From Director Barry Levinson But it’s a fine film and worthy conclusion, and its alterations – the repositioning of several scenes, the cutting of others, and a new opening closing –genuinely improve the final product. In its new form, “The Godfather Coda” is still not a masterpiece. to craft a 30th-anniversary reimagining of “The Godfather Part III,” now released under Coppola’s preferred, original title, “ The Godfather Coda: The Death of Michael Corleone.” In a new intro, Coppola explains, “In musical terms, a coda is sort of like an epilogue, a summing up, and that is what we intended the movie to be.” Unfortunately, audiences were looking for a full-throttle sequel to the greatest one-two punch of the 1970s (both of which won the Academy Award for Best Picture, a still-unmatched feat), and anything less than a masterpiece felt like a letdown. So it probably shouldn’t come as a surprise that he’s revisited his most lucrative I.P. READ MORE: Diane Keaton Fully Endorses Francis Ford Coppola’s New ‘Godfather III’ Cut: “I’m Telling You It Worked”Įverybody wins in these equations Coppola gets another crack at films he’s dissatisfied with, and the studios and distributors get to squeeze a bit more money out of them. His 2019 “Apocalypse Now: Final Cut” was his second recut of his 1979 masterpiece, something of a happy medium between the commercially-minded original cut and his expansive 2001 “Redux” version that same year, he released “The Cotton Club Encore,” a top-down reimagining of his critically drubbed and financially disastrous 1984 gangster musical that suddenly made that disappointment look like a lost classic. Though he hasn’t directed a new theatrical picture since 2011’s “ Twixt” – the final film in a trilogy of independent productions – he has spent the past few years reworking earlier works, with mostly successful results. The third act of Francis Ford Coppola’s career could have gone any number of ways, but it’s still surprising that it’s turned into an extended rumination on the power of film editing.
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |