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The Godfather Part III was the final chapter in Francis Ford Coppola’s Godfather trilogy. Though it undoubtedly pales in comparison to the towering brilliance of the first two films in the trilogy, it still stands as a good film that brought the epic saga to a satisfactory and meaningful conclusion. Michael Corleone (Al Pacino), now an ageing patriarch of the immensely powerful Corleone family, is on one hand trying his best to keep his promise to his former wife by making the family business fully legit, while at the same time completely being engulfed by an overarching sense of deep guilt over his various acts of crime and violence - especially that of his brother Fredo’s cold blooded execution. The film therefore was as much about keeping up with a new series of antagonists, particularly the cocky celebrity-gangster Joey Zaza and the smooth-talking and back-stabbing Don Altobello (Eli Wallach), as it was about Michael’s poignant reminiscing of his life that could have been and his futile attempts at redemption and peace of mind. The film is a tad uneven at parts. Its performances too are mixed – while Eli Wallach and Andy Garcia (as the illegitimate son of Michael’s long-dead elder brother Andy, and the chosen successor to the clan) were good, Sofia Coppola was a severe disappointment as Michael’s naïve daughter; Al Pacino’s performance too was affecting without ever touching greatness. The film was exceptionally photographed as before, and the final scene, which was both ironic and sad, had a sense of Shakespearean tragedy written on it.
Director: Francis Ford Coppola
Genre: Crime Drama/Gangster Film/Ensemble Film
Language: English/Sicilian
Country: US
Very rarely does a sequel manage to hold a candle to the original; The Godfather Part II didn’t just equal The Godfather, which remains a cornerstone in American cinema, number of cineastes has opined that it even managed to go one step ahead. Francis Ford Coppola’s follow-up to his legendary adaptation of Mario Puzo’s tale of family and honour was both a prequel and continuation of the original. The film has two threads running in parallel – aptly placed flashback sequences chronicle the escape of Vito Corleone (Robert De Niro) from Sicily as a child and his subsequent rise in power in a working-class New York neighbourhood; the ‘present’ on the other hand shows the continuation of familial legacy and making of inroads into Las Vegas and Havana by Michael Corleone (Al Pacino). While the original had limited its scope to the Corleone family, the sequel expanded it to far beyond such confines as it juxtaposed the Corleone saga (that too in two distinctly different timeframes) with that of modern American history. Yet, for all its breathtaking scope, the film also managed to be a fascinating human story – Vito’s chance introduction to the world of guns and his smart rise while retaining his sanity, on one hand, and Michael’s all-encompassing power and his absolute ruthlessness, on the other. Incredibly photographed, elegiacally paced, and hauntingly scored, the film’s grand vision and its melancholic tone are worth beholding. Al Pacino was absolutely devastating as Michael, while Robert De Niro was no less arresting as the young Vito. The supporting cast was also superb, especially Lee Strasberg as Michael’s double-edged ally, and John Cazale as Fredo, his tragic brother, whose murder provides the final death knell to any chances for his redemption.
Director: Francis Ford Coppola
Genre: Crime Drama/Gangster Movie/Epic
Language: English/Sicilian
Country: US
Film noirs are famous for blurring the lines between good and evil – there are no classical “heroes” in the dark world of noirs. Force of Evil, though not as well-known as some of its peers, remains a stunning film noir nonetheless for its bleak, gripping, bitter and seedy depiction of life in post War-Big Apple. John Garfield, in the best role of his career, provided a tour-de-force performance as Joe Morse, a cynical, corrupt, self-serving and gold-digging lawyer who works for the numbers racket. He has come up with a brilliant plan that, by playing on people’s superstition, will help in making the operation of mobster Ben Tucker (Morse’s employer) legal, while also earning him his first million-dollars in the process. However, the only catch of his ploy turns out to be his good-natured elder brother. And, as is common in this world of grime and greed, when things start going wrong, they do so in spectacularly devastating fashion, bringing about his nerve-racking fall from grace. His only salvation turns out to be a naïve young girl who he finds himself falling for. Ironically, the careers of director Abraham Polonsky and Garfield too suffered misfortune soon after the movie’s release for their suspected Leftist leanings.
Director: Abraham Polonsky
Genre: Crime Drama/Film Noir
Language: English
Country: US
Directed by Hollywood’s enfant terrible Samuel Fuller, The Naked Kiss was a heady concoction of noirish sensibilities, tabloid storytelling, psychological drama, social commentary and melodramatic kitsch – the movie is hence sure to create ambivalent reactions among most viewers. It starts off in spectacular fashion. The electrifying opening sequence shows a hooker, Kelly (played with delicacy and charm by Constance Towers) clobbering her pimp with a stiletto; most of the scene is shown through the pimp’s eyes, so it feels as if her fury and aggression are directed at the viewers! She escapes from her sordid life to a small, ‘clean’ town in order to start her life afresh. She has a lurid encounter there with the local sheriff. Eventually she does manage to make a decent living, and even falls in love with the town’s most eligible bachelor. However, she’s unaware of the grotesque blemish that he harbours, and consequently it’s not long before the details of her scandalous past travel all the way there to derail her best-laid plans to leave all her baggage behind. By the time the movie ends, you wouldn’t know whether you’ve been served something special or the director has blatantly manipulated you, but you’ll like the movie nonetheless – I guess that’s Sam Fuller for you.
Director: Samuel Fuller
Genre: Drama/Psychological Drama/Crime Drama/Neo-Noir
Language: English
Country: US
Doesn’t matter which way you look at The Big Heat – a frantic tale of obsession, a revenge story, a story of justice and redemption, or a dark chronicle of deceit and human corruption, the movie would emerge as a success – since this incredible noir worked in all these levels. Made nearly a decade after his masterly Scarlet Street, Fritz Lang’s The Big Heat remains a landmark work in this distinctive school of filmmaking. This gripping, hyper-violent (for its time) and nihilistic crime thriller is about a cop trying to get to the bottom of the suicide of another cop, against every kinds of odds possible – not just in the form of gangsters and thugs, but also his own department. However, when the antagonists kill his loving wife and his anger results in his suspension, he takes it upon himself to bring the psychotic mob-boss down – not just for justice, but also for vengeance. And in this hot pursuit he finds an unlikely help in the form of the mobster’s naïve but disgruntled moll. Great photography and crackling, staccato dialogues were just two of the many components of this fast-paced, hardboiled film. Foremost among those components were the excellent performances of Glenn Ford as the hell-bent-on-revenge-and-justice cop, Lee Marvin as the sinister villain, and Gloria Grahame as the woman-scorned.
Director: Fritz Lang
Genre: Crime Thriller/Film Noir/Police Procedural/Gangster Movie
Language: English
Country: US
