The movie critique portion of this review was written by my colleague Ishmael Hurst.
Mario Puzo’s The Godfather Coda: The Death of Michael Corleone opens with an introduction, a rare address by the legendary Francis Ford Coppola. In it, he reveals that the edited film’s “new” title is, in fact, the original that he intended to use from the beginning. “In musical terms, a coda is sort of like an epilogue, a summing up,” he tells us, “and that’s what we intended the film to be.” It is telling that, in his later years, Coppola feels compelled to revisit and re-edit a work that has so much to do with the clearer sense of reflection and regret we find with age. He seems to have found a new understanding of what the film wants to say, and he wants to share the revelation.
That said, the most significant edits to the film are only placed at the very beginning and very end. These modifications are made to accentuate the cyclical nature of Michael’s journey in the Godfather trilogy. Part I (1972) sees a young Michael (Al Pacino) determined to break from his family’s criminal institute and make an honest living before becoming embroiled in mafia conflict through a desire to both protect and avenge his loved ones. The Coda finds Don Michael Corleone a lifetime of felonious treachery later, and begins directly as he struggles yet again to escape the mafia empire he has helmed for decades. He intends to cleanse his finances with an immense investment in the Catholic church. It’s clear that this is also a ploy to wash himself of past sins he can no longer justify, but the church’s politics turn out to be as conniving and deadly as his own, and the bloody cycle he has cultivated for so long now spins with or without him. Pacino plays the aging gangster with a mixture of nuance and operatic dynamism as an anguished man whose acidic anger has cooled to bitter regret. In the new re-edit, it is that lament that Coppola seeks to underline.
Among fans of the trilogy, Part III is usually considered the weakest entry, which may be true, though only by virtue of the earlier films’ strength and status. It is unfair, I would argue, to consider it a bad film, as many do. Its performances range from good to stellar. Sofia Coppola, Francis Ford’s teenaged daughter who was only added to the cast after Winona Ryder dropped out, has always been harshly regarded in her role as Michael’s daughter, Mary. However, views of what constitutes an effective performance have changed. In retrospect, Mary is portrayed with a down-to-earth earnestness and emotion that could be considered praiseworthy in modern cinema. Diane Keaton is unforgettable as Kay, Michael’s tortured ex-wife, who finds herself drawn back into his world as he seeks to return to hers. The script, too, is concrete, not to mention responsible for one of the most quotable lines in film history.
“Just when I thought I was out, they pull me back in.” Francis Ford Coppola pulls us in again, this time to reconsider a trilogy that has become a definitive pillar for actors, storytellers and filmmakers alike. The Coda is an excellent excuse to revisit the final installment in the series, if only for an opportunity to amend its poor consideration and recognize the good film it has always been.
Video Quality
This new version of the trilogy capper makes its Blu-Ray debut with a stellar 1080p transfer sourced from a 4K scan of the original camera negative supervised by Coppola. This presentation is a knockout that preserves the filmic look with proper film grain and texture throughout. The level of clarity and detail on this release is truly something to behold. There are very subtle details in the production design that are visible here for the first time from minute details on outfits to some of the production design on display in Michael’s office. The black levels are extremely deep and allow for true detail to come through. There are a lot of bold colors in the film that pop off the screen with an immaculate vibrancy. The cinematography from Gordon Willis has never looked better than in this presentation. Skin tones are natural and lend themselves to showcasing an amazing amount of detail. Paramount has done an excellent job of restoring this, as all print damage has been cleaned up without messing with the natural look of the film. Compared to the previous release of The Godfather: Part III, this new version is a massive improvement in every respect. Those who have been waiting for this one to be treated with the proper respect on Blu-Ray should feel it was worth the wait. Let us hope that the inevitable 4K release includes both the original Part III and this new Coda in the upgrade.
Audio Quality
The Blu-Ray comes with a Dolby TrueHD 5.1 lossless soundtrack that sonically represents the film perfectly. The activity is balanced extremely well across all of the channels with the thematically appropriate score from Carmine Coppola filling the room in a very pleasing manner. Music is used skillfully throughout the presentation, but it never overpowers the dialogue or other important information. The classic dialogue, especially when delivered so fervently by Pacino, comes through clearly and never falls victim to any digital anomalies. A particularly action-packed scene near the middle of the film offers a forceful impact within the track along with other chaotic sounds like shattering glass. Rear speakers get their time to shine with ambient sounds, be it in the cavernous echoes of the church or a raucous party atmosphere. There is a subtle amount of low-end support that adds texture to the world when the scene calls for it. Every single aspect of this track seems to be working together in perfect harmony. It would be difficult to imagine this movie sounding better than it does here.
Special Features
- Optional Introduction: The minute-and-a-half long introduction from director Francis Ford Coppola that was previously mentioned is the only special feature provided here.
Final Thoughts
The most important thing that the release of Mario Puzo’s The Godfather Coda: The Death of Michael Corleone does is that it encourages viewers to reevaluate this much-maligned wrap-up to one of the best cinematic journeys in film history. Whether or not you agree that The Godfather: Part III is a flawed film, this new version offers up the superior viewing experience that we never thought we would be lucky enough to actually get. Paramount Home Entertainment has offered up a Blu-Ray with a superior A/V presentation that should more than hold you over until we can get these films on proper 4K UHD Blu-Ray. If you are a fan of the Godfather trilogy (and who isn’t?), you owe it to yourself to check out Coppola’s engrossing new vision of the story. Highly Recommended
Mario Puzo’s The Godfather Coda: The Death of Michael Corleone is currently available to purchase on Blu-Ray and Digital.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Paramount Home Entertainment has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
