The Godfather, Coda: The Death of Michael Corleone - "Don't Underestimate the Power of Forgiveness."

This is probably one of the most cobbled together articles I’ve ever written, which is fitting for this re-edit of a thirty-year-old film. That’s not why it’s so cobbled together, though. Part of the reason why is that I’m a bit burnt out with The Godfather at this point. I’ve written lengthy articles about all three films, and now I’ve written a second article about the third film. Another reason is that I’ve taken my time with this one and wrote a lot of notes, but they aren’t all that focused. So if Francis Ford Coppola wants to consider this film as more of a coda than a third film, then consider this article my coda instead of a fourth article. 

As for the film itself, I’ve never hated Part III as much as others, and it seems like with time a lot of people have warmed to it. This new version will help the film’s reputation even more, but if people would simply revisit the theatrical cut, they’d probably realize they like the film more than they remember. It’s still interesting to watch this new version and compare it to the original cut.

Is It Better...or Necessary?

First off, this is not going to be a scene-by-scene comparison between this film and the original cut. I’m too lazy for that, and you can just Google the differences and find a dozen articles that do that. That written, I do have a comment or two in the random thoughts about a few differences I noted. Instead, I wanted to focus more generally on the idea of this cut and answer the basic question: is this a better movie than the original, and is it necessary?

Coda is a better version, in my opinion. Mainly because it makes Michael’s life even more tragic by altering the ending. Instead of him slumping over and dying as he does in the original, Michael is still alive at the end of this film, and it ends with a text pretty much saying he’s cursed to have a long life to suffer as long as possible for his choices. That’s a much more powerful ending, and it focuses on the point of the third film: Michael’s attempt at redemption.

Coda makes it clear that Michael never had a chance at redemption. Vito knew this, and it is why he is so heartbroken in the first film when he talks to Michael about being in charge of the family. Vito had no regrets about how he provided for his family, but he hoped Michael could legitimize the Corleones.

This led to Michael’s obsession with becoming legitimate in the subsequent films. But his blind pursuit of redeeming the family only took him deeper into the mob life while alienating the very family he claimed to be doing everything for. 

This new cut smartly begins with Michael talking to the archbishop about “washing away” his family’s past by getting involved with the Catholic church’s finances. All that part of the plot is still pretty confusing, but it doesn’t matter. The point is that Michael thinks this deal he’s making will save his family and erase the past. Placing this scene at the beginning (it’s originally around forty minutes in) makes it more clear what this film is truly about. 

Any kind of cutting like that makes the movie a bit sloppier, though. There are some jarring cuts throughout the film, especially when it comes to Michael going to Italy. He seems to bounce back and forth from New York to Italy from scene to scene at one point. This makes the movie move more quickly, but it’s also a little disorienting. It doesn’t ruin the film, but it does take me out of it at times.

Overall, I think this new cut is warranted, but it shouldn’t be a solo release. The blu-ray I bought contains only this cut. Yes, I already own Part Three, but this release should have both versions. It should also simply be added to any collection released in the future, even if it’s just a digital code or something. The ideal way to release this would have been as an exclusive for the new Paramount streaming app. I bought it because I’m a completionist, but others should have the option to simply check this out once on one of the streaming options out there.

Michael Corleone Is Dominic Toretto, or “Grumble, Grumble, Family.”

The Fast and the Furious franchise probably doesn’t come to mind very often when people watch The Godfather films, but during this rewatch, I kept thinking of Dominic Toeretto (Vin Diesel’s character) every time Michael claimed he was protecting his family.

Dominic Toeretto mumbles about family so much in the Fast films that it’s become a joke, and for good reason. In a series that began as a Point Break rip-off about street racers stealing VCRs and is now seriously considering sending the action to space, any claim that the batshit crazy action is actually about family is laughable. 

The Godfather is never going to space, but that doesn’t make Michael’s claims about family any less ridiculous than Dom’s. Dom just uses family as an excuse to do crazy shit; Michael uses family as an excuse to keep power. 

Just saying you’re doing things for your family doesn’t make it true. I do believe that Michael truly thought that everything he did was for his family, but he became blinded by this belief. When you kill your own brother and alienate your wife to the point that she would rather have an abortion than another child with you, then at some point your actions stopped being for your family and were just about you. 

Both Michael and Dom could leave their dangerous lives and simply live off the grid with their families. It might not be ideal, and people would still want them dead. but it would still be safer than what they ended up doing. When you claim your actions are meant to protect your family, but those actions continuously put your family in extreme danger, then you are either lying to yourself or you’re stupid. But I’ll say this for Dom: at least he seems to be having fun.

Meaningful Quotes

I always include a section of favorite quotes in my articles, but for this film I came across so many important quotes that I wanted to pull a few and explain why I find them so meaningful.

“Your whole past history, and the history of your family and your children would be washed away.”

It makes sense that this line is spoken by the bishop who is revealed to be an enemy of Michael because it’s bullshit. Michael too easily buys into this idea that being connected with the church will save him and his family. Yeah, because the Catholic church has always been known to be free from corruption. I know this takes place in the 1970s, but I’m sure people still had an idea that the church was not exactly perfect.

“I spent my life protecting my family!”

This is just Michael being Dom again. Just keep saying it until it comes true, buddy.

“You became my horror.”

One of the best parts of this film is the segment in which he finally talks with Kay and listens to her. She says this to him early on in the film, but it’s probably her most important line to Michael. Hearing this might finally make him realize how awful he was back then. But it still can’t help him see what Kay sees: even when dealing with “legitimate” organizations, Michael can’t stay away from plots that end up involving murder.

“You will not change.”

The future Pope is talking about whether or not Michael believes his soul can be saved, but this line is more accurate when applied to Michael’s actions. Michael does believe he can be saved; that’s precisely why he’s so involved with the church in this film. He just doesn’t realize that just being connected to the church financially doesn’t make everything you do okay.

“What could I do?”

I understand that Michael felt the need to kill in the first film to protect his father and the family in general. There was no changing his mind about that. But everything he does in the second film was not so necessary, especially killing Fredo. 

“I swear on the lives of my children. Give me a chance to redeem myself, and I will sin no more.”

What does this even mean at this point? What would Michael consider worthy of redemption? He’s so incapable of staying out of shit that leads to multiple murders, that the only real way for him to save his family is to die. This is why his survival at the very end is that much more miserable. 

“I tried…”

How? By getting involved with crooked bishops and corporations and shit? He was too hung up on becoming officially legitimate and buying his redemption from the church. He could just as easily have sold off all his nefarious investments and left the mob shit to Zasa and the rest of the commission. They would be pissed, and they might even try to kill him, but his kids would be free of danger and the mob life in general.

I think Michael starts to believe he can be redeemed right before his daughter is killed, but why? Just because he met a “true priest” to hear his confession? He’s still doing all kinds of shady shit, especially taking on Vincent and allowing Connie to have people murdered. In this way, he’s still just like Dom. He can claim everything he does is for family, but he just does whatever the fuck he wants because he’s addicted to power.

The only change Michael has made is that he is now one more step removed from crime while still being the final authority on it. In the first film, he was willing to personally kill for his family. In the second film, he only commands others to do his bidding (although he does hit his wife himself). And now, he just leaves others, like Vincent, Connie, or Joey Zasa to commit crimes and murders. He may not make the orders, but he accepts the consequences after the fact. What he doesn’t seem to understand is that just because he removes himself enough to be considered “legal” in his actions, that doesn’t make them “good.” And while a priest may be able to grant him absolution, the world does not care.

Why Do I Own This?

I love The Godfather films, even the third one, so it was a no-brainer to cave in to this cash grab of a new cut. I don’t regret it, though. I buy very few films these days, so I’m okay with getting this as a way of completing my collection.

Random Thoughts / Favorite Quotes 

In his commentary for Part III, Coppola said the original title was simply The Death of Michael Corleone. I like that much better than this current ridiculously lengthy title: Mario Puzo's The Godfather Coda: The Death of Michael Corleone.

The letter at the beginning is to both kids? If both of the kids get a copy, is he handwriting two letters or just making a copy? And if he makes a copy, which kid gets the original?

You can't edit out that weird shit Sofia Coppola does with her mouth throughout the film in an attempt to appear flirtatious. She just ends up looking like Rocky Balboa.

“I’ve lost [...] the juice of youth.” Ew.

I wish Coppola would have filmed a new scene in which Michael slapped the fuck out of Johnny Fontaine just like his old man did.

The reporter lady insists on Vincent telling her he loves her. They just met that fucking day! 

One of these days I’m going to watch this just to count how many times they say the name Joey Zasa. My guess is fifty, which is a fucking lot for a character with maybe ten minutes of screen time who dies halfway through.

“Now they’ll fear you.” Now, Connie? Do you have no memories from the days when you were banging your way around the world? Michael had his own brother killed. Every time his power is threatened, he kills everyone. What else does he have to prove at this point? I get it, “what have you done lately?” and all that, but come on; this is Michael fucking Corleone.

Coppola cut one of the don’s yelling, “Zasa, you son of a bitch!” from the helicopter scene. Why? If it was to cut down on how many times we hear “Zasa,” then fine. But otherwise, how does this line get cut, but the dildo trying to get his lucky coat stays?

The priest that has to light all of the bishop’s cigarettes is one busy motherfucker.

This finally occurred to me after all these years: how would Vincent had known how to ride a horse for the Zasa hit? Riding a horse is not a simple thing, and riding a horse and keeping it calm during a gunfight is a straight up complicated thing. I can buy Vincent as a cousin fucker, but not a horse rider.

"Zasa!"

Man, they really make Connie look like some kind of ancient Italian witch in this movie.

When Michael has another attack at the Vatican and requests something sweet, that priest has a tray of orange juice and candy within seconds. Are there just trays of sweets stationed throughout Vatican City? This isn’t Charlie and the Chocolate Factory.

It's hilarious to me that Michael kept the picture from his son for all these years, but never checked yes or no on it. He’s still on the fence about it, I guess.

Kay brushes off a lot of shit during Michael’s little tour of Italy. “Hey, Michael, you know our daughter’s fucking her cousin, right?” 

“Yeah, I won’t allow it.”

“Cool. Hey, Michael, remember when you got married here and never mentioned it to me when you came back to America? That kind of sucked, but whatever.”

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The Godfather: Part II - "I can't have this conversation again."

Part I or Part II?

I went into an unplanned mob overload lately starting with rewatching The Sopranos. All of the references and onscreen discussions about The Godfather movies made me want to revisit that series, too. At one point in The Sopranos, the crew is attempting to watch The Godfather: Part II. Paulie asks Tony, “What’s your favorite scene?” Tony shakes his head, saying, “I-I can’t have this conversation again.” He’s talking about discussing a favorite scene (it’s when Vito goes back and kills Don Ciccio), but I think of Tony’s line in regards to the most common question concerning The Godfather Saga: What’s your favorite, one or two? (Three is never an option, but I’ll get to both versions of that film soon.) 

I hate picking a favorite film each year, much less of all time or even within a series, but with The Godfather trilogy, it’s even more difficult because it is such a focused story about Michael Corleone’s rise and fall. In other franchises, it’s easy for me to jump in and watch one movie (like watching The Empire Strikes Back out of the blue or Aliens or The Dark Knight). But with The Godfather, I always start with the first film and work my way through the trilogy in a week or two. So rather than get into whether this film is “better” than the first film, I’ll instead focus on why I find it to be the most important film in the trilogy.

The Perfect Middle Film

After this rewatch, what impressed me the most about Part II is that it’s a double period piece taking place during Vito’s emigration and rise in the criminal world of New York City in the early 1900s while also showing Michael’s cold-blooded decisions to retain power and protect his family in the 1950s. The technical aspect of making a film during two different time periods interested me, but the thematic reason for doing it is what makes this film special. 

The main story, to me, is all about Michael’s attempt to protect his family while he tries to make the Corleone family legitimate. It’s a tragedy as he essentially destroys his family by blindly and heartlessly making life and death decisions. Because of this, the Vito portion of the film isn’t simply a prequel for the audience to see Vito as a young man. It’s showing what Michael is destroying and, more importantly, it makes it clear that he never had a chance of saving his family. 

I used to watch this film and just think Michael is a blind piece of shit. How could he seriously think his decisions and treatment of his family (especially his wife, Kay) would end well? It culminates in his most evil decision of having his brother Fredo killed. He is truly a lost, lonely man at this point. 

Because of this mindset, I would view the Vito scenes as an example of the family that Michael has destroyed. But Vito’s rise to power is the foreshadowing of Michael’s loss of soul. Yes, Vito seems to be all about taking care of his family, but all the scenes of him holding the baby versions of characters we know can’t erase how focused and brutal he is when it comes to gaining power and seeking revenge. 

Vito going back to Italy at the end to kill Don Ciccio is seen by many as a triumphant moment (it’s Tony’s favorite scene, after all), but I see it as just as tragic as Michael’s downfall. Vito is consumed with revenge. Yes, it is revenge for his family, but as in every story of vengeance, it is clear that the act itself is really more important than any idea of justice for dead family members. The code of the mob world demands Don Ciccio’s death. 

Vito’s revenge actually proves Don Ciccio right. Don Ciccio tells Vito’s mother at the beginning that he cannot spare Vito because one day he will grow up and want vengeance. It’s a perfect example of the vicious cycle of the mob life. Vito knew this, and it’s why he wanted something different for Michael in The Godfather. Michael thinks Vito always wanted him to get involved with the family and that by joining the Army he was rebelling, but Vito tells him later on that he never wanted this life for Michael. Vito does not apologize for his life, and he even admits that he knows Sonny was always going to be in the life (and he insinuates that Fredo was always going to be a fuck-up), but he had hoped Michael could hold legitimate power as a politician rather than a criminal. Ignoring the argument that politicians can be just as bad, if not worse, than the mob, Vito wanted something better, and less violent, for Michael. 

Vito’s hopes for Michael are reaffirmed by the flashback at the end of Part II in which Michael tells his brothers about his enlistment. Sonny, of course, blows up, and Fredo is his meek self, but Tom’s reaction is the most telling. Tom explains to Michael that he and Vito had discussed Michael’s future many times. Michael is annoyed by this at the time, but focusing on this memory at the end of the film is very telling. Michael finally realizes what Vito really wanted for him: to never be involved in the family business. Michael originally thought, once he was involved, that his father wanted Michael to bring legitimacy to the Corleone name. That’s his main motivation throughout Part II and Part III. After destroying his family in the name of legitimacy and honor and vengeance, Michael finally realizes that he had no chance of achieving this while being a part of the mob, despite his proclamations about wanting to get his family out of that life. It’s too late. As Vito sadly tells him in the first film, “There wasn’t enough time.”

The Godfather films have always been a tragedy about the mob, and it’s a bit tragic that so many people view them as celebratory of mob life. These are some of the most depressingly beautiful films ever made, and it’s unfortunate that some viewers just see them as cool “mob movies.” Part II is the most important film in the trilogy simply because it shows Michael’s downfall and how Vito’s choices led to all of this. It’s also important because it is a perfect middle film of a trilogy. 

The Godfather: Part II makes The Godfather a better film because we can go back and watch it knowing Vito’s journey and his hopes for Michael and how the events of that film are even more tragic than once thought. And it sets up the third film, as well, with its focus on Michael trying to save his soul after losing it in the events of Part Two. I appreciate the first and third films so much more because of the second film. Does that make it the best? To some, sure. For me, it makes it the most important.

Why Do I Own This?

It’s part of the collection I own, but, you know, it’s also one of the best films ever made...in my opinion.

Random Thoughts/Favorite Quotes

Much like the wedding in the first film, that has to be the worst parking situation in the history of first communion parties.

Wait, are first communion parties a thing? I'm Catholic, and I just remember maybe my grandparents coming by our house after my first communion. But then again, my family isn't in the mob…

I don't know why, but I could listen to G. D. Spradlin talk for hours.

I would especially enjoy hearing him pronounce Italian names incorrectly. His pronunciation of "Vito" is impossibly wrong.

I could also watch Michael Gazzo drink from a hose for hours.

I know an attempt was made on Michael's life, and he did tell his kid that he got the drawing he made, but he never answers the question posed by the drawing. Michael should definitely have told the kid the drawing fucking sucked despite all the distractions of the evening.

The meeting with the president of Cuba always cracks me up with the solid gold phone being awkwardly passed around the table. “Yes, el presidente, this stuff with the rebels is very concerning...oh, man, this gold phone is fucking awesome! Gino, feel how heavy this thing is! Anyway, this Castro guy…”

I am in awe of Michael's bodyguard's commitment to wearing all black at all times in Cuba.

Michael: "Fredo, I want you to show the politicians a good time here in Havana."

Fredo: "There's this club that has a dude with a giant dick. He breaks a cracker with it."

Michael: "..."

Looking back, it's pretty hilarious that the moment Michael realizes Fredo betrayed him there's a man with his dick out on a stage in front of them.

Mob bosses should stay away from oranges.

"I'm smart!"

Fredo, you're lucky they even let you have the small responsibilities they entrusted you with. I wouldn't trust you to pick someone up at the airport, you eternal fuck up.

Vito don't fuck around when it comes to knifing someone…

Fuckin' Michael's answer to everything is to kill someone. 

But, as the don from Corleone knew, if you leave anyone alive that might want revenge, they will eventually seek it. I suppose this is why Michael still kills Fredo even though Fredo seems so helpless in the end. Fredo has the capacity to betray Michael again at some point, thus he must go.

What kind of ex-husband did Kay think Michael was going to be? The dude is not big on forgiveness or changing his mind about shit.

I like how Sonny tells Fredo to make him a drink in the flashback. That’s right, Fredo, you deceitful fuck; no matter who was boss they were going to make you the bitch.

..

The Godfather - "It Insists Upon Itself."

If you pay attention to movie news at all, then you know that Francis Ford Coppola, the guy who can’t stop revisiting his movies but doesn’t take shit for it like George Lucas does, is releasing a new cut of The Godfather: Part III now titled The Godfather Coda: The Death of Michael Corleone. I plan on watching it and writing an article, but I wanted to revisit the entire series first. I love these movies (I even like the theatrical cut of Part III), and I honestly don’t have some unique take on the first one. So I’ll keep this simple and just focus on what I love about it and have a little fun with a Family Guy joke about the film.

Dark and Gritty Before Dark and Gritty Was a Thing

The Godfather came out before I was born, so by the time I got around to it, it was already considered a classic. The whole series always loomed large in the video store when I was a kid: all three movies were double VHSes! Once I started getting into mob movies, I knew I had to check it out. 

At first, I liked it, but I think I liked it because I knew I was supposed to, it being almost unanimously considered one of the greatest films of all time. I sincerely enjoyed it, but a lot of it went over my head. I’ve watched it at least a dozen times over the years, and I find new reasons to love it each time. I’ll skip all the classic reasons (the cast, the music, the famous moments, etc.) and focus on what hit me this time: the pacing and atmosphere.

The Godfather is a dark film, both literally and figuratively. It’s legitimately hard to see what’s going on in a lot of scenes, but that plays into the dark mood of the film. These are men who work in the shadows of society, why should they be well-lit? The opening scene seems to take place in a dungeon, not in the middle of the day in a home office in which business is regularly conducted. When Michael finds his father alone at the hospital, everything is dark, signifying the danger of the situation. And it gets even darker when Michael and the florist have to pretend to be tough guys to protect Vito; who knows who is out in that darkness?

All of this sets up Michael’s descent into the dark underworld of his family, but it also feels realistic. Too often city streets are lit up beyond belief. Sure, Times Square will always be a bright spot, but even the biggest cities have their dark streets where dangerous things can happen. 

The darkness is realistic, but the pacing is even more so. Movies in the ‘70s were slow and subtle, and Coppola was a big part of making that the norm. The Godfather is still a very straightforward movie, and it has plenty of traditional gangster movie moments, especially in the violence department. But rather than showing someone get killed every other scene, there are lengthy discussions and arguments about every move. This is mainly to accentuate the difference in the leadership styles of Michael (slow and methodical) and Sonny (quick and loud), but it also sets the standard for a great gangster movie with something to say.

“It Insists Upon Itself.”

When I think about The Godfather critically, I always remember the Family Guy clip in which Peter admits to not liking the film, and says “It insists upon itself,” as his main argument. Over the years, I’ve tried more and more to understand differing opinions on everything, especially movies, and that applies to Peter Griffin, too. I know it’s just a joke from a silly show, but is he right?

Well, no, in my opinion, of course. But I can see where he’s coming from. The Godfather may have a few moments of levity here and there, but overall it treats its subject matter with intense seriousness. As well it should, but because of this, people like Peter Griffin, who can’t get into the movie, can easily cast judgment on the film for its serious tone. 

I can’t argue with Peter not being able to “get into it,” but I can defend the seriousness of the film. All gangster movies deal with life and death, The Godfather more than most. But it’s the life the film deals with that earns the seriousness. Death is expected in this world, but The Godfather insists upon itself because it is dealing with the soul of Michael Corleone. Over the course of the film, he goes from war hero who wants to stay out of the family business to running the criminal empire and having multiple killed. His descent intensely solidified by cross-cutting the death scenes with the baptism scene with him renouncing Satan, even as he plans to have the father of his Godson killed soon after the baptism. 

If such a descent from good to evil doesn’t deserve to insist upon itself a bit, then what does? So fine, Peter, you couldn’t get into it and would rather watch The Money Pit (a movie that definitely does not insist upon itself), but that doesn’t mean The Godfather isn’t allowed to take itself too seriously at times.

Why Do I Own This?

The entire saga is a must-own for any fan of mob movies. I’ve owned this movie in every format it’s been released in since the double VHS, and I’m sure I’ll end up buying it again once hi-def reaches its limits.

Random Thoughts / Favorite Quotes*

*Just assume all the famous quotes (“Leave the gun. Take the cannoli,” for example) are also my favorites. It just feels silly to type up all the quotes that have become part of the culture at this point. Instead, I’ll focus on more random quotes that amuse me. 

The parking situation at the wedding gives me anxiety. Imagine being the car at the very front but needing to leave first. You'd have to ask a dozen people to back out first.

Easily one of my favorite moments is Don Corleone making fun of Johnny crying and Tom laughing about it. 

"Let me tell you something, my kraut-mick friend…"

The lack of squibs when Vito gets shot always bothered me. Sure, there are squibs and blood in the close up, but in the overhead shot there's nothing. Maybe they were saving all the good squibs for Sonny's death.

Did Sonny really need to write "8:30" on the cabinet? Is that time too complex to just remember?

Michael has the slowest healing black eye in the history of black eyes. Either that, or all the shit in Italy takes place the first week he's there.

Upon some research, it's because McCluskey really fucked up Michael's face with that punch, breaking his jaw and eye socket. Apparently, McCluskey's full name is One Devastating Sucker Punch Iron Fist McCluskey.

That missed punch Sonny throws at Carlo is only slightly better than the horrific punch at the end of Rocky V.

Fredo does make a comment about the doctor doing great work on Michael's face when they see each other in Vegas.

No one says "Scram!" better than Fredo.

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