Originally posted by MistaMista_Tom_Hagen:
It seems to me like FFC just had a bunch of ideas concerning the Godfather that he wanted to use, and just sort of fabricated this story as an excuse to string them all togethor.
Even I have the same feeling, but I would have preferred if he used a better bunch of ideas.
And I feel like the best thing about this movie is the ending. From the point where the film fades into the big Opera gateway in Sicily at night until the end, is, in my mind, one of the greatest film sequences ever created. In my mind, this film cannot compare to either of the other GF's, but the Opera Massacre sequence alone stands right along side the Baptism Murders sequence and the Hail Mary sequence at the end of GF I and II. FFC has a knack for wrapping things up quite nicely.
But the other 2 endings were really short sequences. That's why I like them more. This one seemed to go on for ever.
And one question...
Is there any identifiable point in time in which Al Pacino switched from quiet-whispery guy to shouting, hoarse-voiced guy? I can't quite pinpoint the year or the film where this strange transition occured. The last Pacino film i've seen where he's still quiet is Scarface (1983), and then by GFIII (1990) he seems to have completely changed. anyone know the first film where he really seemed to have attained that raspy, guttural voice?
I think even in Scarface, he tried to shout, but only he didn't have that low-frequency voice that he has today. By the time he acted in Scent of woman, he was at his peak of over-acting. And guess what he got oscar for that. And not GF1 and GF2.
OK I am running for cover
