Introduction
Various directors, actors, critics, researchers, and ordinary viewers consider The Godfather trilogy a cinematic masterpiece, filled with numerous interwoven, complex film themes. For many, these three films are Francis Ford Coppola’s magnum opus.
However, only the first two parts receive such recognition, and the third is mostly forgotten. It is unfair; The Godfather: Part III carries a similar level of thematic complexity as its predecessors. The dominant themes of the trilogy are the sinner’s redemption, contagious violence, and toxic masculinity.
Sinner’s Attempt at Redemption
One of The Godfather: Part III’s predominant themes is the redemption of the sinner. It is the most visible and least subtle idea in the film’s story structure. In the story, Michael Corleone donates substantial amounts to charities and even reveals his darkest sin, fratricide, to Cardinal Lamberto (Coppola, 1990). He also hands over the family’s headship to Vincent in exchange for breaking up with his daughter (Coppola, 1990). Michael not only fears for his life and that of those close to him, but his moral code also prevents him from being a crime boss anymore.
In the scene with Lamberto, he breaks down emotionally and finally repents, something he did not expect (Coppola, 1990). However, God in The Godfather Part III is not as forgiving as Cardinal, and the former Don’s daughter dies in the movie’s finale. Like Vincent, Al Pacino’s character had to pay the price for quitting. God once punished Cain forever for fratricide and did the same with Michael.
Contagious Violence
Coppola’s entire trilogy about the Corleone crime family, especially the third installment, conveys the director’s humanistic, pacifistic message that violence is contagious. One violent act can start a long and multi-year chain of events full of sorrow and suffering. It is a rule and an axiom in the criminal world that inflicting pain is the most common means of resolving disputes. Michael leaves the title of Don, but this does not save him from being wounded and the death of his daughter (Coppola, 1990). Those who spread violence will inevitably be affected by it directly or indirectly.
Toxic Masculinity
The theme of toxic masculinity in The Godfather: Part III is subtler than those in the previous two discussed. One can say that the criminal institution in the movie’s fictional world is built and operated chiefly by men. It is also a manifestation and material continuation of toxic masculine ideas and practices. It is male gangsters who cause central conflicts in the story. These are Michael Corleone vs Osvaldo Altobello and Vincent Mancini vs Joey Zasa (Coppola, 1990).
Consequently, they suffer from their highly masculine behaviors, attitudes, and beliefs. Women around them often meet a fatal fate, and Mary is a prime example. Al Pacino’s character comes to realize this throughout the film and attempts to become a new person. Eventually, practices atypical for conventional masculinity, such as emotional openness and willingness to retreat, give him a clear mind and temporary inner peace.
Conclusion
The final picture of the Corleone family, as portrayed by Coppola, has three central themes. These are the sinner’s attempt at redemption, the contagiousness of violence, and the toxicity of traditional manliness. The director created a multi-layered picture of the Italian-American criminal world of the past. In this paper, the movie’s thematic complexity is explored through various analytical lenses, including theology, moral philosophy, and sociology.
Reference
Coppola, F. F. (1990). The Godfather Part III [Film]. Paramount Pictures.