Michael returned years later.
Everything seems to be different: everything seems to be the same again:
The same party, singing and laughing, different high-ranking friends full of seats, bells ringing and eating.
The same godfather Michael, different brocade jade belts, gorgeous crown dress.
As dark as the study, Michael was as old as a lone wolf.
The same conspiracy, violence, killing, lust for power, killing strife, the difference is the helplessness and tiredness in Michael's expression.
Along with tiredness is the aesthetic fatigue of film formalism and the loneliness of film perfectionism.
Perhaps this is the reason why the influence of "The Godfather" is not as good as the previous two.
1
Let's start with the long montage at the end.
This passage is the climax of the whole film, but it is also the most dramatic paragraph.
Because it is always reminiscent of the end of Hitchcock's "Catch" filmed in 1956.
- The hidden killing machine in the opera house.
If the director Francis Ford Coppola is a tribute to Hitchcock this time, then it is a perfect tribute: not only is the cake poisoning the opponent, but also a number of groups of characters hunting each other in the theater, while Michael outside the field also began to kill, the whole paragraph from the beginning of the entrance to Mary Corleone Incense Fellen up to 25 minutes, enough to exceed Hitchcock 15 minutes, its editing and scene scheduling, has to be said to be a masterpiece of the peak.
At the same time, it is also difficult to guess - is this a tribute to Coppola to his godfathers one and two series?
2
There's also the perfect hint here.
Oranges, funerals, dances, and puppet shows in the Italian countryside all hint at the direction and ending of the story again and again.
I believe many fans know that in this movie, oranges hint at death and end.
The director made perfect use of the specialties of his hometown, so that this small orange ball was covered with a layer of fatalistic colors.
Funerals often herald a new twist, whether it's the shooting of a large number of gangsters or the death of a godfather.
And the occasional gathering is a precursor to tragedy.
The country puppet show is a clear hint at Mary's tragic ending.
I just don't know if such an obvious "hint" is still a "hint"?
But in any case, these elements full of fatalism do make the film full of tragic colors.
3
Even more perfect is the strong Rembrandt oil painting style.
The treatment of "light and darkness" and the visual effect make the characters seem to be hidden in the darkness, and only the light makes the bright clothes of various characters form a strong contrast with the darkness of their faces.
Light or darkness? Or is it light painted with darkness?
4
And, of course, the perfect stylized story.
The hypocrisy of the church, the fruitlessness of redemption, the infighting of the gangsters.
And the story of Mary and Vincent. It's all bitterness.
The most perfect is Mary's actor, Coppola's daughter Sophia Coppola, who directed a film "Lost in Tokyo" many years later to achieve her Oscar for best director and the future influence of Scarlett Johansson.
In short, the Godfather's trilogy is over, and after watching it, it seems to have experienced vicissitudes.
The movie is still there, you and I have a good face, but the original intention remains unchanged.