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  • The Godfather, Part III (Final Director's Cut) [VHS]
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The Godfather, Part III (Final Director's Cut) [VHS]

411 customer reviews

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The Godfather, Part III (Final Director's Cut) [VHS] + The Godfather, Part II [VHS] + The Godfather [VHS]
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Product Details

  • Actors: Al Pacino, Diane Keaton, Andy Garcia, Talia Shire, Eli Wallach
  • Directors: Francis Ford Coppola
  • Writers: Francis Ford Coppola, Mario Puzo
  • Producers: Francis Ford Coppola, Charles Mulvehill, Fred Fuchs, Fred Roos, Gray Frederickson
  • Format: Closed-captioned, Color, THX, NTSC
  • Language: English, German, Italian, Latin
  • Rated: R (Restricted)
  • Number of tapes: 2
  • Studio: Paramount Home Video
  • VHS Release Date: May 21, 2002
  • Run Time: 162 minutes
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (411 customer reviews)
  • ASIN: 6302158176
  • Amazon Best Sellers Rank: #151,439 in Movies & TV (See Top 100 in Movies & TV)

Editorial Reviews

Product Description

New in shrink wrap. Includes extra footage. Satisfaction guaranteed!

Amazon.com

Sixteen years after Francis Ford Coppola won his second Oscar for The Godfather II (his first was for the 1972 Godfather), the director and star Al Pacino attempted to revive the concept one more time. Despite an elaborate plot that involves Michael Corleone seeking redemption through the Vatican while simultaneously preparing his nephew (Andy Garcia) to take over the Corleone family, the film fails to take shape as a truly meaningful experience in the way the preceding movies do. Still, Pacino is very moving as an elder Michael, filled with regret and trying hard to make amends with his wife (Diane Keaton) and grown children (one of whom is played, and not all that well, by the director's daughter, Sofia Coppola). --Tom Keogh

Customer Reviews

Most Helpful Customer Reviews

87 of 103 people found the following review helpful By Robert Morris HALL OF FAMETOP 500 REVIEWERVINE VOICE on April 15, 2005
Format: DVD
I have seen this film several times, all the way through or in parts. Frankly, I have mixed emotions about it because, when discussing it, I want to be fair and focus on it as a discrete film, judging it on its own terms; however, for me at least, that is impossible because it is the third of three Godfather films and its two predecessors are masterpieces. I cannot exclude vivid memories of scenes and even comments from films I first saw 18 and then 14 years before seeing this one for the first time in 1990. OK, that's my challenge. I finally decided to try to rate it on its own terms, hence the Three Stars. What it has going for it includes Pacino's talent, several plausible conflicts, brilliant cinematography, and a tone of melancholy which is consistent throughout the narrative. After years of broken promises to wife Kay (Diane Keaton), Michael has almost completed a process by which to extricate himself and his family from organized crime. However, his marriage has ended, mortal enemies remain such as Altobello (Eli Wallach) and Joey Zaza (Joe Montegna), his negotiations with the Vatican encounter unexpected complications, and finally, his physical health is poor as pressures and tensions in his life intensify. It is no wonder that he suffers a diabetic attack in his kitchen ("Just when I think I'm out....") from which he never fully recovers.

However, the film has several problems. One concerns the lack of a primary plot to give the narrative cohesion. There are hundreds of individual episodes in The Godfather and Godfather Part II (as in other films such as Lawrence of Arabia and Doctor Zhivago) but they are coordinated effectively. Not so of the episodes in this film. Sofia Coppola's performance as Mary Corleone has been savaged by most critics.
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46 of 59 people found the following review helpful By "rhodgelaw" on January 28, 2000
Format: VHS Tape
Some critics complain that Sofia Coppola was inexperienced for such a big role. I disagree. Ms. Coppola's inexperience helped her play the character of Mary more convincingly. While it is true she sometimes seemed rather "valley girl," this shouldn't be surprising. Michael did his best to shelter her from the harsh realities of life in the Corleone Family, and the upbringing and guidance from her father came across in her portrayal of Mary.
Another criticism is Michael's quest for redemption... that such a notion does not square with the character in Parts I and II. Again, I disagree. Recall Michael wanted nothing to do with the Family Business in Part I. His father had hopes he might become "Senator Corleone... Governor Corleone," but this was not to be. Michael had to step in for the sake of his family. This necessity does not change the fact that at one time he was a good son, who simply wanted to become a math professor, marry, and have a family. In Part II, he obviously put this notion behind him, but there must have been a part of the "old Dartmouth Michael" lurking somewhere deep inside.
In the years following the end of Part II in 1959, Michael took steps to legitimize the Corleones by getting out of illegitimate businesses. That done, he sought forgiveness for the wrongs he'd done. Had he not been betrayed in Part III, he would have likely found the redemption and peace he sought on a personal level. In addition, the Corleone Family would have been the legitimate family enterprise that would preserve and protect future generations of Corleones, as well as reform Vatican finances. This would have fulfilled his father's dream.
Some say the opera scene was too long.
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6 of 6 people found the following review helpful By Craig Connell on April 30, 2006
Format: DVD
I stayed away from this film for a long time, doing a dumb thing: listening to the well-known film critics.

When I finally got around to it, I was very surprised. It was a good film. Not great, not intense as the first two Godfather flicks, but definitely a lot better than advertised.

Many people said this was filled with anti-Roman Catholic propaganda, but I didn't it find that way. Yes, the "Vatican bank," whatever that is, was portrayed as not on the up-and-up, but it was a little confusing to follow, maybe too confusing to get offended! Actually, there were some positive things, religious-wise, with Al Pacino's character, who sought forgiveness for his past sins and made a few very profound statements such as, "What good is confession if it isn't followed by repentance?"

Anyway, Pacino's acting talents are the main attraction in the lower-key, more cerebral Godfather film. There isn't that much actionbut when it occurs, it's pretty violent. As with the other two films in the series, it's nicely photographed with a lot of nice brown tints.

Finally, director-writer Francis Ford Coppola took a lot of flak for putting his daughter in such an important role but I thought she (Sofia Coppola) was fine and - like this film - unfairly criticized.
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19 of 24 people found the following review helpful By F. S. L'hoir VINE VOICE on August 18, 2007
Format: DVD
I confess it! "Godfather III" is one of my favorite movies. All right, it has less-than-perfect moments, but it also has memorable ones, such as the touching confessional scene between Michael (Al Pacino) and the Cardinal (Raf Vallone) in the cloister, and the reconciliation of Michael and Kay (Diane Keaton) in Don Tommasino's dining room.

I especially enjoy the Italian locations, and since I spent the `80s in Italy, amidst rumors about what was commonly regarded as the suspicious death of John Paul I; the scandals of the Vatican Banco Ambrosiano (with the banker Calvi hanging from the London bridge); the P-2 scandals in the highest posts of the government, not to mention numerous assassinations of judges in Sicily, the background of the story--the last half of which takes place in Sicily--rang true for me. Furthermore--and more importantly--Coppola's brilliant use of recurrent visual and thematic imagery renders the film outstanding not only on its own merits but also in respect to the first two films. Besides the well-discussed use of oranges whenever a catastrophe is imminent, Coppola constantly juxtaposes themes of religion and death, replicating the events of the story--the biting of the ear; the religious procession, the veiling of the head--with those of Mascagni's magnificent opera about death, revenge, and religion in Sicily: "Cavalleria Rusticana." Coppola intersperses scenes of the opera with scenes of actual vendetta, as the plans of Vincenzo--the new godfather--are carried to their violent conclusion. The part I love the best, though, is when Coppola transfers the tragedy taking place onstage in the opera, outside onto the steps of the opera house--life imitating art.
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