Yet the fact that he walks around looking like the Godfather of Beverly Hills is a trivial but revealing indication that Coppola had misplaced his former mastery of detail. In “Godfather III,” we have to buy that Michael, in the years leading up to 1979, has undergone a change - that in his cold dark staring way he has softened and is looking for redemption. But Michael Corleone? At the age of 50, he would never have abandoned his old-school Italian coif, the hair oiled straight back (just like his father’s), which gave him the look of a mobster cobra. I can certainly imagine that Al Pacino, in the early ’90s, might have shown up on the red carpet sporting a thatchy salt-and-pepper bristle cut. I’m talking about Michael Corleone’s hair. And why would Michael, now bent on respectability, object to his son becoming an opera singer?) What’s more, there’s a detail in the movie that’s so wrong it jars me in almost every scene. (Joe Mantegna’s Joey Zasa first seems a minor-league mobster, then he’s a showboating celebrity kingpin. The storytelling, at times, is slipshod and arbitrary. ![]() Thirty years after its release, the flaws of “The Godfather Part III” are just as pronounced. I think that’s a tad overstated, but I stand by it.
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