Tagarchief: FilmDungeon

The Godfather: Part III (1990)

Posted on by Jeppe Kleijngeld


‘All the power on earth can’t change destiny.’

Directed by:
Francis Ford Coppola

Written by:
Mario Puzo (screenplay)
Francis Ford Coppola (screenplay)

Cast:
Al Pacino (Don Michael Corleone), Diane Keaton (Kay Adams Michelson), Talia Shire (Connie Corleone Rizzi), Andy Garcia (Vincent Mancini), Eli Wallach (Don Altobello), Joe Mantegna (Joey Zasa), George Hamilton (B.J. Harrison), Bridget Fonda (Grace Hamilton), Sofia Coppola (Mary Corleone), Raf Vallone (Cardinal Lamberto)

Just when you thought you were out, they pull you back in! 18 years after the original masterpiece, Francis Ford Coppola and many of his old collaborators return for the finale of the Godfather saga. The studio was screaming for a sequel for years, but Coppola waited until he had a story he really wanted to tell. Originally he wanted to call this story; ‘The Death of Michael Corleone’.

Part III is the story of an old Don looking for redemption. Michael Corleone is no longer a gangster; he is the chairman of a corporation. He has finally achieved legitimacy, but his heart is ever heavy. This is a man getting ready for death, but he wonders if he made the right decisions in life. In Part II he had his brother Fredo killed. Now, he wants to make things right with his ex-wife Kay, his children and with God.

Redemption does not come cheap. In the deal of his lifetime, Michael wants to purchase shares in a large real estate company, owned by the Vatican, for the sum of 600 million dollars. But he soon learns that the higher he gets, the dirtier it gets. In The Godfather: Part III, the hypocrisy of the mob, the Catholic Church and big business mix perfectly. Michael feels like he can’t deal with these snakes anymore; he needs a successor. His own son Anthony won’t have anything to do with his business, but perhaps his nephew Vincent (Andy Garcia) could be the one. Or is he too much of a hothead like his father Sonny?

Like the previous Godfather films, The Godfather: Part III opens with a lavish celebration – a fitting introduction that reintroduces familiar faces while showcasing new ones. It’s a promising start, but it also highlights the film’s most significant flaw. Francis Ford Coppola cast his daughter, Sofia Coppola, as Mary, Michael Corleone’s daughter. Unfortunately, she doesn’t quite fit the role. It’s not that her acting is utterly terrible, but she lacks the presence and nuance needed for such a pivotal character. Her on-screen romance with Vincent, in particular, feels forced and unconvincing, weakening an already delicate subplot.

Despite its flaws, Coppola demonstrates once again that he knows how to craft a compelling narrative. While Sofia Coppola’s performance may undercut the impact of some key scenes, they are still powerful scenes. The beloved characters we’ve followed throughout the saga each receive fitting and meaningful conclusions. The strong sense of family – a hallmark of the series – endures, lending the film its emotional core. The cast, for the most part, is outstanding. Al Pacino brings a Shakespearean weight to Michael, portraying him as a deeply tragic figure. Andy Garcia proves to be as fierce and magnetic a presence as James Caan was in the first film. Meanwhile, Talia Shire, Diane Keaton, and Eli Wallach all deliver touching and memorable performances in their supporting roles.

The final act that plays at an opera house is one of cinematic excellence. The combination of classic Sicilian opera, the traditional bloody settling of the Corleone affairs and the ultimate tragedy that unfolds is a sequence worthy of comparison to earlier Godfather-endings. The final frames are, as always in Godfather movies, beautiful. It is hard not to shed a few tears as Michael looks back on the women of his life and then dies.

Rating:

Quote:

KAY ADAMS: I came here to protect my son. I didn’t come here to see you disguised by your church. I thought that was a shameful ceremony.

Trivia:

Catherine Scorsese, Director Martin Scorsese’s mother, is one of the women that complains to Vincent in the street about the poor care of the neighbourhood. In the same year, she also appeared in her own son’s gangster film GoodFellas.

The Godfather: Part II (1974)

Posted on by Jeppe Kleijngeld

Directed by:
Francis Ford Coppola

Written by:
Mario Puzo (novel / screenplay)
Francis Ford Coppola (screenplay)

Cast:
Al Pacino (Don Michael Corleone), Robert Duvall (Tom Hagen), Diane Keaton (Kay Adams), Robert DeNiro (Vito Corleone), John Cazale (Fredo Corleone), Talia Shire (Connie Corleone), Lee Strasberg (Hyman Roth), Michael V. Gazzo (Frankie Pentangeli), G.D. Spradlin (Senator Pat Geary), Richard Bright (Al Neri)

Francis Ford Coppola’s The Godfather: Part II is a rare sequel that not only lives up to the legacy of its predecessor but in many ways deepens and expands it. Rich with atmosphere, emotional depth, and moral complexity, this beautifully dark chapter in the Corleone saga is, indeed, an offer you can’t refuse.

Following the immense success of the 1972 classic, a sequel was greenlit almost immediately. However, with only a small portion of unused material from Mario Puzo’s original novel – the early life of Vito Corleone – Coppola and Puzo crafted an original narrative chronicling Michael Corleone’s reign as head of the family, interwoven with the rise of his father, Vito. These parallel timelines form the heart of Part II, highlighting both the legacy and the transformation of the Corleone family.

In Vito’s storyline, we witness his arrival in New York as a young immigrant, escaping the trauma of his family’s murder in Sicily. As he grows up, he confronts the oppressive rule of a local crime boss and takes the first steps toward becoming a benevolent – but ruthless – leader within the community. Robert De Niro is mesmerizing as the young Vito, embodying the character with subtlety and strength, and earning a well-deserved Academy Award for Best Supporting Actor.

Meanwhile, Michael’s narrative unfolds in stark contrast. Now at the height of his power, Michael strives to legitimize the family business and expand into Cuba, partnering with the aging Hyman Roth. But betrayal and deception close in from all sides. Al Pacino delivers a haunting performance as a man consumed by control, paranoia, and an increasingly cold detachment from those closest to him. Despite the role being arguably the pinnacle of his career, Pacino was controversially overlooked by the Academy.

The film’s production design by Dean Tavoularis and the moody, shadow-drenched cinematography by Gordon Willis once again elevate the storytelling to operatic heights. But it’s the ensemble cast that truly shines – John Cazale as the fragile Fredo, Robert Duvall’s solid Tom Hagen, Diane Keaton’s heart-wrenching portrayal of Kay, and powerful additions like Lee Strasberg as Roth and Michael V. Gazzo as Pentangeli.

Coppola’s structural innovation – juxtaposing father and son at similar ages – profoundly enriches the film. While both Vito and Michael are motivated by a desire to protect and provide for their families, their approaches – and ultimate fates – are starkly different. Vito, though a criminal, retains warmth and humanity; Michael becomes increasingly isolated, sacrificing everything in his quest for power.

This is essentially the story of Michael Corleone’s downfall. He may get to keep his power, but he is completely lost, not understanding anymore how his actions have a destructive effect on his environment. He is now estranged from his wife and then from all others around him.

In the first movie, when Michael has the heads of the Five Families murdered, it is very satisfying, but when he deals with his enemies – including his own brother – at the end of The Godfather: Part II, it has completely the opposite effect. Michael’s transformation, which started in the first movie, is now complete. He is alone with all his power and it is with that frightening image that Coppola ends this remarkable film.

Rating:

Quote:
MICHAEL CORLEONE: Connie, if you don’t listen to me and marry this man… you’ll disappoint me.

Trivia:
Marlon Brando and Robert DeNiro are the only two actors to ever win separate Oscars for playing the same character. Brando won Best Actor for playing Vito Corleone in The Godfather (1972) and DeNiro won Best Supporting Actor for playing Vito Corleone in its sequel and prequel The Godfather: Part II (1974)

 

Heat (1995)

Posted on by Jeppe Kleijngeld

Directed by:
Michael Mann

Written by:
Michael Mann

Cast:
Al Pacino (Lt. Vincent Hanna), Robert De Niro (Neil McCauley), Val Kilmer (Chris Shiherlis), Jon Voight (Nate), Tom Sizemore (Michael Cheritto), Diane Venora (Justine Hanna), Amy Brenneman (Eady), Ashley Judd (Charlene Shiherlis), Mykelti Williamson (Sergeant Drucker), Wes Studi (Detective Casals)

Watching Heat recently really made me nostalgic for the nineties. Acting legends Al Pacino and Robert De Niro in the same movie? Those were the days. The supporting cast of Heat is also one to marvel at. But it’s not just the cast that makes it such a great cinematic experience. Heat is like a genius puzzle where every piece fits perfectly.

The starting point seems simple: there’s a good guy, detective Vincent Hanna (Pacino), who tries to catch the bad guy, robber Neil McCauley (De Niro). Both are dedicated professionals—so dedicated, in fact, that they struggle to maintain steady relationships. Hanna’s second marriage is crumbling, while McCauley hesitantly starts dating a woman, keeping her in the dark about his criminal life.

Writer/director Michael Mann based Heat on true crime stories. Neil McCauley, for instance, was inspired by a real person. He leads a crew of professional robbers, but as soon as they deviate from their usual approach, their perfect machine begins to unravel. Hanna is on their trail like a bloodhound. They decide to pull off one final, major heist—with Hanna and his equally professional team hot on their heels.

Yet the story goes much deeper, featuring an impressive array of side characters, each given just the right amount of screen time. In the end, the equation is perfectly balanced, and when the final piece falls into place, it’s a moment of true greatness.

The heart of the story is the relationship between Hanna and McCauley. Though they only meet twice in key scenes – once in the legendary diner scene and again in the tragic airport finale – their bond is palpable throughout.

Scenes from their private lives mirror each other, and whenever they learn something new about one another, they’re notably impressed. These two men respect each other. They’re equals in many ways, yet they’re on opposite sides of the law. Even though McCauley is far more cold-hearted than Hanna, it’s hard to favor one over the other. McCauley is such a professional that you can’t help but root for him.

Beyond the story and acting – both of which deserve a 10/10 – Mann and his crew also made the film look astonishing. The blue-lit Los Angeles feels cold and detached, a perfect backdrop for these characters, all of whom are disconnected from the world in their own way.

The direction is a triumph in itself. Every shot is like a painting, and every scene is meticulously crafted down to the smallest detail. There are a few fantastic set pieces: the two heists in the film are unforgettable, but many other scenes linger in the mind. Heat is touching, smart, cool, and extremely exciting. It’s Mann’s best film, hands down, and one of the greatest L.A. crime epics ever made.

Rating:

Quote:
VINCENT HANNA: “You know, we are sitting here, you and I, like a couple of regular fellas. You do what you do, and I do what I gotta do. And now that we’ve been face to face, if I’m there and I gotta put you away, I won’t like it. But I tell you, if it’s between you and some poor bastard whose wife you’re gonna turn into a widow, brother, you are going down.”

Trivia:
In an interview with Al Pacino on the DVD Special Edition, Pacino reveals that for the scene in the restaurant between Hanna and McCauley, Robert De Niro felt that the scene should not be rehearsed so that the unfamiliarity between the two characters would seem more genuine. Michael Mann agreed, and shot the scene with no practice rehearsals.

Blow

Posted on by Jeppe Kleijngeld

Director: Ted Demme
Written by: Bruce Porter (book), David McKenna (screenplay), Nick Cassavetes (screenplay)
Cast: Johnny Depp, Penélope Cruz, Franka Potente, Rachel Griffiths

Year / Country: 2001, USA
Running Time: 118 mins.

Biopic about George Jung, perhaps the biggest American cocaine smuggler of all time. The movie begins with George’s youth in Massachusetts, where he sees his dad working his ass off and ending up poor anyway. He decides he wants to become rich. George moves to California in the late sixties where he becomes a huge marijuana dealer and importer.

After the death of his girlfriend and a prison sentence he picks up a new trade; importing cocaine. After not too long, he is dealing directly with Pablo Escobar and his Medellín Cartel. 85 percent of all cocaine used in the United States in that time – the disco eighties – now comes from Jung. Then he meets a new love interest: the Colombian Mirtha (Cruz). This means trouble mildly put. In addition to that, a conflict ensues with his business partner and Jung is headed for the end. His empire was built too swiftly; the foundations were not strong enough.

Within the rise and fall crime biopic genre, Blow is a successful addition. It leans a bit heavy on GoodFellas with the voice-over, the soundtrack, the editing and casting (Ray Liotta plays Jung’s dad), but after a while you notice that Blow is not just another rip-off gangster movie. It is about a man and the choices he makes. In displaying that, the movie succeeds because ultimately it touches you where it matters; in the heart.

Rating:

Biography: Ted Demme (1963, New York – 2002, Santa Monica) was an American film director and producer. His career had modest beginnings – starting as a production assistant at MTV, he later created the cable network’s seminal hip-hop show Yo! MTV Raps. Later, he directed several movies, TV episodes and documentaries. He frequently worked with Denis Leary and was the nephew of movie director Jonathan Demme. In 2002, one year after directing the successful Blow, he died from an accidental cocaine induced thrombotic heart attack. He was only 38 years old.

Filmography: Yo! MTV Raps (1988, TV series) / No Cure for Cancer (1992, TV doc) / The Bet (1992, short) / Who’s the Man? (1993) / The Ref (1994) / Beautiful Girls (1996) / Homicide: Life on the Street (1994-96, TV episodes) / Gun (1997, TV episode) / SUBWAYStories: Tales from the Underground (1997, TV segment) / Denis Leary: Lock ‘N Load (1997, TV) / Snitch (1998) / Life (1999) / Action (1999, TV episode) / Blow (2001) /
A Decade Under the Influence (2003, doc)