The Godfather Trilogy: 1901-1980

This movie was one of the best movie I have ever seen! Featuring

great plots, great acting performances by Marlon Brando, Robert

Duval, and Al Pacino! The story of Michael Corleone as a Mafia

boss is one of the best series ever created! If you haven't seen

it, you most definitely should.

This is just practically all of the Godfather movies rolled into one big one just in chronological order. There is nothing really to say about this except that all of the other Godfathers were wonderful and I liked it in chronological order instead of all jumbled up. Still wonderful, same great acting and same wonderful direction.

Overall the movie is just normal Godfathers in one big movie. Still like it a lot though. Rating 10 out of 10.

Everyone knows the "Godfather" movies. If you don't by now, you probably don't belong on this site. (Just kidding...everyone is welcome!) In 1992, Francis Ford Coppola assembled together the entire footage from all three of his "Godfather" movies and spliced them back together again in chronological order...along with about 30 minutes of deleted scenes, making the outcome clock in at about 530 minutes altogether (astounding!).

The movie compilation was released on VHS and played on TV as part of a mini-series type deal, but I never got around to seeing it back then. Watching it now it really adds a new aspect to the familiar story and truly compliments the original films - it doesn't seem like an unnecessary cash-in.

Part of what I enjoy about the first sequel is its non-chronological passage of events...flashbacks to Don Vito's days really contrasted Michael's conflicts in a superb way... but I don't really have any beefs with Coppola changing that for the sake of a new and unique narrative. It makes it more interesting for this particular project.

It starts off with scenes from "The Godfather Part II" - a young Vito Corleone emigrates from Corleone, Sicily (and no, the film wasn't actually shot there...I went to the real town of Corleone and it's nothing like in the film) to Ellis Island at the turn of the century. Once there he eventually opens his own business, gets a wife and births children - including Michael, his beloved son.

Vito becomes a Mafia Don and after many years Robert De Niro transforms into Marlon Brando, whose son Michael (now played not by a baby, but rather a baby-faced Al Pacino) is reluctant to join the "business." He's in the military and all is going well with him and his girlfriend (Diane Keaton) but then an assassination attempt leaves his older brother dead and his father in intensive care.

In order to defend his family he must kill a corrupt cop and Mafia kingpin. He does this and then flees to Sicily (and, if you've read the book "The Sicilian" by Mario Puzo, you'll be aware of what fate awaits him there).

This stuff goes on forever and I could give a detailed plot description but I'd be ruining whatever you might not have seen.

Overall there's nothing I can really say about this other than that it's an interesting spin on the movies. If you want my opinion on the other films you'll have to search my archive here on IMDb, they'll all available if you care so much as to read them (which I highly doubt).

Suffice to say Coppola's remix of his movies is a refreshing twist on the saga...I enjoyed it and although it's something of a monster to sit through (I recommend an hour or two per night, which I don't ever usually like to do with other films), you'll find the time passes by pretty quick at times.

The first two episodes of The Godfather have already been critically acclaimed. There's not much of a point in adding to these praises. There have been so many negative critiques of Part III that a commentary in favor of the final episode is due.

Here it is. The last of the trilogy can be appreciated for its consistency with the first two, particularly with the film's loyalty to the recurring theme of the entire saga: family.

Once lineless and rendered obscure to the plot, Lucy Mancini (original actress and all) has returned to the saga after being left behind in Part I. And she has brought a not-so-little remnant of her affair with Santino Corleone with her. Recall the scene in Part I when Sonny leaves Lucy's apartment with his henchmen to pick up his sister. That was perhaps the very moment after which the last Don Corleone was conceived.

Another one of Santino's remnants has returned to the saga in Part III: his twins (Francesca and the other one). They are now grown and still identical, and still adorable too. Remember their line in Part II, Mommy, Daddy's fighting again!" and their inclusion in the Corleone family portrait taken at Connie's wedding.

Also returning are Al Neri, Calo (the Sicilian bodyguard), Tommassino, Johnny Fontaine (voice still intact), and Sofia Coppola even though she posed as Connie's baby in Part 1. Speaking of Sofia, she arouses a touching appreciation of the scene in Part II that shows little Mary Corleone running in a hotel hallway while her parents argue inside the room. And Anthony becomes a paradox to the boy in Part I who is ostensibly imminent to be the next Godfather.

As usual, the political intrigue makes the film exciting if you're paying attention. And the very title of Part III presents a double meaning: third episode, third Godfather. Andy Garcia is perfect for the part (remember him in The Untouchables). As they say in the mob, Vincent Corleone "wears it" when he is ordained Don Corleone, Neri and others acknowledging his throne in the proper fashion. The scene chills you with nostalgia and images of Bonasera kissing Vito's hand, and Clemenza and Rocco Lampone kissing Michael's.

To be honest, Part III is rude to newcomers to the Corleone family. It's presumptuous that viewers will appreciate what's occurring without realizing that this will be the first time many even see a Godfather flick. This is also why so many critics bashed Part III. They critique it as an individual feature instead of an integral episode to a classic saga. Okay, okay...

The shortcomings of Part III comprise the main reason why the Trilogy version must be viewed to appreciate the Godfather saga. Like Phantom Menace, The Godfather Part III is empty without the rest of the story (even though Menace can stand alone better). Yet, like Star Wars, The Godfather is a classic of classics in literature, performance, and cinema: the best in motion picture history.

The final image in PART 2 said it all! After that, it was just 'more of the same'.

And it's still missing about 20 more minutes (deleted from the theatrical versions) of great footage from the broadcast of "A Novel for Television" (or the retitled "Godfather Saga") that combined 1 & 2. Most notable is James Caan's 'Sonny' that was more prominent following the Don's assassination attempt. Plus...why take out scenes that were in the theatrical release. No matter what version is shown, it's either censored (for TV) with added scenes that further fleshes out the story and characters, or the theatrical release seems edited.

Coppola has said that he doesn't mind taking out scenes (according to his whim) because he can always put them back. What a way to keep the cash cow forever flowing. And...at the expense of depriving movie lovers the definitive version of 'The Godfather Saga'.

Just look at how many versions of 'The Godfather' there is...

1)'Godfather', 'Godfather PART II', 'Godfather Part III' (546 minutes)

2)'The Godfather: A Novel for Television' (1977) (434 min. not including the 171 min. of Part III) [434 + 171 = 605 min.]

3)'The Godfather Epic: 1902-1959' (3 tapes on VHS) (402 min. not including Part III) [402 + 171 = 573 min.]

4)'The Godfather Trilogy' (laser disc) (583 min)

Every version has some scenes that the others don't have. I think I'll wait till all the footage that the viewing public has been exposed to is all included in the film from beginning to end because all that footage is great cinema. For once, it'd be nice to sit back and enjoy the entire story without your concentration being interrupted by missing scenes (you know exists) that causes gaps in the narrative.