Mike-696 Reviews

The Godfather Part III (1990)

This Completes the Corleone Saga

[21 May 1999]

"The Godfather III" (1990) is no cinematic masterpiece as its two predecessors are, but it is definitely worth watching. The acting is brilliant, especially the scenes with Al Pacino and Diane Keaton. Have you ever had a friend, relative or lover you were so close to for years but now only see them every so often, maybe every two years? If so I think "The Godfather III" will have that kind of emotional effect on you. Andy Garcia gives an excellent performance as Vincent, a well-deserved Oscar Nomination for Best Supporting Actor. I've liked him since I first saw him in Brian De Palma's "The Untouchables" (1987). He has this slick coolness about him. He plays Sonny Corleone's kid, and displays some of the same mannerisms.

So much has already been said of Sofia Coppola's poor screen presence. I feel bad for the poor thing really, hope she didn't take all the criticism personally. Let me just say this about the fatal casting of Sofia Coppola (Francis' daughter): Francis Ford Coppola was almost forced into making this movie; he was millions of dollars in debt so it wasn't made out of passion like the earlier two 'Godfathers'. The film is very disoriented in some parts and the characters' dialogue unintelligible in others. "The Godfather" movies are about a powerful mafia family, made by an Italian-American family. Francis and Talia Shire are brother and sister; Carmine Coppola is their Dad; and Nicolas Cage, Francis' nephew executive produced this film. And now we have Sofia. It's a shame about her casting really. The final scene in the film would've played much better if she hadn't been such a paper-cut character.

But the set pieces, cinematography and art-direction are all wonderful. I loved the locales in both Sicily and Rome. And this film does have the same feel of the previous two, its own language so to speak, so you can enjoy it on that level despite its major flaws.

Directed by Francis Ford Coppola. Music by Carmine Coppola (who died the following year movie was released). 170 minutes (Final Director's Cut).

Blume in Love (1973)

Nothin' To It.

[21 May 1999]

"Blume In Love" (1973) begins in Venice, Italy as Blume (George Segal) talks about how this most romantic place changes the way couples think of sex and love while they are visiting. As the movie pushes along Blume talks about his divorce from his ex-wife Nina Blume (Susan Anspach) and his regret from having an extra-marital affair. We also see images of Nina and Blume's honeymoon to Venice. But now Blume is back in Venice on his own after Nina had asked him to leave for a couple of weeks so she could work things out. The rest of the movie contains flashbacks of before and after the divorce.

I have seen one other film by Paul Mazursky [Bob & Carol & Ted & Alice (1969)], which was a film that dealt with two couples experimenting in sexual freedom. "Blume In Love" is about a divorce-lawyer named Blume (Segal) who suffers from impotence and despair after he is divorced from his beloved Nina (Anspach). He "can not live without her" he exclaims, and "would rather die if he can't have her back." And dying is something Blume doesn't want, so he has to win her back. He eventually wins her back in an ending that is either ambivalent to the viewer, joyous or they are repulsed by it as was the reviewer before me. It was a very romantic and happy ending, but it was far from realistic

"Blume In Love" is a well-directed film by writer and director Paul Mazursky. The performances by Susan Anspach, George Segal and Kris Kristofferson as Elmo are all wonderful. Kris Kristofferson's Elmo is a very likeable character. His easy-going, laid back "Nothin' To It" look on life is a sharp contrast to the emotional conflict between Nina and Blume. Elmo is a traveling musician who moves in with Nina after she divorces Blume. He enjoys playing his music and having a good time. Blume ends up liking him too, and uses him as a reason to come and visit Nina to win her back.

In the end this was a story about a man desperately trying to win his ex-wife back. He will do everything possible to do so. Along the way we follow him through his despair and sometimes we laugh at it and sometimes we cry.

Directed and written by Paul Mazursky. (Mazursky himself plays Segal's law partner.)

Who's That Knocking at My Door (1967)

Keitel Plays Scorsese In Early Marty Gem

[3 May 1999]

"Who's That Knocking At My Door?" (1968) is the kind of film where you see it once you'll want to see it again, just to see what you didn't understand. The protagonist is played by Harvey Keitel as J.R., an autobiographical role based loosely on Scorsese's strict Catholic upbringing. And many symbolic Catholic references there are such as the Virgin Mary mini statue reflection in the mirror watching Harvey Keitel's JR as he embraces "The Young Girl" played by Zina Bethune.

Scorsese is so intelligent and inventive with his scenes here; crafty artsiness at its best (like the one where J.R. is having sex with the "broad" in a dream fantasy, but then afterwards flips his cards towards her rejecting her as a sin; she's not a nice virgin who would be a good wife and mother for J.R.; she's just a whore, a "broad", as we listen to The Doors' song 'The End' finish). Marty's own personal style was established in this early film.

Harvey Keitel was 29-years-old when Martin Scorsese's [who was 25] "Who's That Knocking At My Door?" debuted in 1968. This was a full-length feature debut for both actor Keitel and director Scorsese. It was interesting to see this for the first time recently after I had already seen most of Scorsese's later films. His classic trade marks such as the "freeze frame, slow-motion, and classic rock tracks playing on the soundtrack" are all utilized effectively in this early gem. ("Easy Rider" is always the film that is credited as being the originator of playing classic rock tunes on the soundtrack, but "Who's That Knocking At My Door?" wasn't seen by many until it received wide release in 1970, almost three years after it was made.)

For any film school student or aspiring director/screenwriter this is a must see. Mr. Scorsese financed this film on a tight budget. I read somewhere that his film professor from NYU helped him finance it. From the beginning somebody somewhere knew Marty had the talent and could make a good picture. He created a wonderful film; using his own life experience for the story he was able to concoct a great, interesting and personal film. His "Mean Streets" (1973) is a much greater and even more personal film. But "Who's That Knocking At My Door?" was the beginning.

I'm not Catholic but I certainly learn a lot about Catholicism when I watch a Scorsese flick. For instance, take the scene where "The Young Girl" is making dinner at J.R.'s place, she lights up what appears to be just a candle. But to J.R. it is a "Holy Candle" and makes her put it back and replace it with another one. There are many classic scenes in this film, but I don't want to spoil it for you.

Directed by Martin Scorsese. Edited By Thelma Schoonmaker (who would go on to edit almost all of Scorsese's later films). Starring Harvey Keitel as J.R. 90 minutes.