The Godfather: Part III

A hand can be seen on the shotgun on the table in the opera, followed by a shot of the hand reaching down to pick it up.

At the beginning of the movie Vincent gets in a scuffle with security at the party being held for Michael.

Vincent's coat gets knocked off his arm but in the next shot it's there again.

This happens a few times and when Vincent walks away the coat is back on his arm.

After the shootout at the opera house, Vincent goes up the stairs, then he is back down at the bottom and then at the top again, all within a matter of seconds.

At the opera house, Vincent is heard yelling while his mouth is not moving.

When Michael lies in the hospital, the oxygen tube on his pillow changes its position.

The Opera Cavalleria Rusticana is shown out of chronological order.

The prologue is shown first (Anthony singing backstage), followed by a scene near the end.

The procession scene shown next, is actually in the middle of the opera.

Then the conclusion is shown.

In the first "overview" shot of New York City at the beginning of the film, the World Financial Center is shown.

Construction of the complex began in 1981 and was not finished until 1987.

Although the details of Pope John Paul I and his death in the film are not always consistent with those of the real Pope John Paul I, this is not a factual error, as this film is only presenting a fictional story partially (and loosely) based on true events.

When the Corleone family moves to Sicily, one white car license plate can be seen.

White car license plates were not introduced in Italy before 1988.

The movie takes place towards the beginning of the 1980s.

When Michael visits Archbishop Gilday, the Archbishop has a lit cigarette cupped in his hand.

While telling of the bank's woes and his need for Michael's help, another priest offers the Archbishop a cigarette and lights it for him.

The first cigarette has disappeared, yet there has not been enough time for, nor any action indicating onscreen, the Archbishop has extinguished the first cigarette.

When the assassins find Frederick Keinszig and begin to subdue him; he reaches for his gun on top of the table of stolen money.

As he struggles, one of the top bills gets moved to reveal that the stacks of money are mostly just blank pieces of paper.

During the conversation between Michael Corleone and Kay in the lunch room at the house of Don Tommasino, the cheese on Kay's plate appears and disappears.

Pope John Paul I, particularly towards his demise, is repeatedly addressed as "Your Eminence".

By this time he is Pope and the correct form of address is "Your Holiness".

When Kay is on the steps about to get into the car in Sicily, Michael can be seen removing his cap through the windshield.

Then, after she gets into the car, Michael turns around and again removes his cap.

Near the end, when the hit man is assembling his rifle, he mounts the scope backwards.

Later in the film it is on in the correct direction.

The opening of the film indicates that we are in 1979, but Pope Paul VI, whose death happens during the movie, died in 1978.

When Joey Zazza is killed, he attempts to enter a store only to find a locked door.

Before Vincent shoots him, his blood is already on the door window.

After Mary has been shot, Michael puts his head in his hands.

There is no blood on his shirt, even though he stood right by her at the time of the shot, which was heading in his direction, and afterwards he cradled her body in his arms.

The camera cuts away to Kay cradling Mary's body, then cuts back to Michael.

Blood has now appeared prominently on his shirt.

Although the character played by Franco Citti in this movie and in the first Godfather is credited as "Calo", Michael Corleone always calls him "Carlo".

Both twin bodyguards are killed during the opera performance.

After the final assassination attempt outside the opera house, one of the twins can be seen near Vincenzo frisking the body of the slain assassin.

At the end of the opera, Anthony Corleone comes out while flowers are being thrown on the stage.

When he re-enters with the other opera singers, the flowers are all gone.

There are numerous errors in the use of Latin by priests in the film.

In the scene in St Patrick's where Michael Corleone is honored by the Church, the presiding clergyman pronounces the Latin word et ("and") as "ay", rhyming with "day", as if it were French.

It is in fact pronounced like it's spelled, to rhyme with "wet" and "pet.

" Later when Cardinal Lamberto (later Pope John Paul) absolves Michael Corleone, he ends with the standard "in the name of the Father," etc.

, in Latin.

But he wraps it up saying "et Spiritus Sanctus.

" The correct Latin is "et Spiritus Sancti.

" But Spiritus is not a nominative, it's the genitive (possessive) singular of a fourth declension noun, and the correct form of the adjective is Sancti.

Of course these very mistakes won't be noticed by many viewers, but they will be noticed by anybody who took first year Latin and/or had any training in the Church.

The scenes were Michael advises his daughter Mary against seeing Vincent, and the one where he gives Anthony the car drawing seem to have been shot in sequence.

That is noticeable because Anthony is wearing the same clothes and in the first scene (with Mary) Anthony has the car drawing in his hand.

The final scenes of the film were filmed in the Opera House "Teatro Massimo" in Palermo.

But this Opera House was closed in 1974 to complete renovations required by updated safety regulations, and it remained closed for twenty-three years, finally re-opening on 12 May 1997, so a playing of the "Cavalleria Rusticana" was not possible at the beginning of the 1980s in that Opera House.

The camera the photographer uses at the party changes make and model between shots.

Also, the cord connecting the lens to the flash equipment appears and disappears between shots.

Then when he is done with the last shot, he completely disappears along with the tripod and camera from the staircase as the kids run past.

After the shooting of Mary, Vincent is seen standing with blood on his clothes when he was not near anyone shot.

A chart showing the strength of the British pound over the years 1988-1990 is shown in one of the newspapers dated 1980.

Many times newspaper headlines are shown describing events in the film.

However, the clearly legible articles underneath the headlines are obviously unrelated to the headlines.

In one case, a WSJ headline "article" appears to have been lifted directly from a computer instruction manual! One of the newspapers headlining the executions is dated "Wednesday November 15 1979".

November 15, 1979 was a Thursday.

Another newspaper is dated "Friday March 27, 1980".

March 27, 1980 was also a Thursday.

In the Opera some scenes take place in an empty box with unused stacked chairs.

In a presumably sold out show there would be no unused boxes and even if so, the box would have been prepared, because it can be looked over by the boxes on the other side, as we see the boxes with the audience.

In the German dubbed version Vincent several times refers to Mary as his cousin in Italian.

He mispronounces the word 'cugina' (cousin) as 'cucina' (kitchen), though.

In part 2 the car that Anthony drew for Micheal is gray while in the third it is red.

The opening scene at the church, where Michael is given the award, Mary is wearing a veil in the close ups, but not wearing it in the long shots.

The clothes worn by the characters, notably Mary and Kay, are clearly wardrobe contemporary to the late 1980s, and not the late 1970s as shown.

When Michael arrives to Sicily, the caption says "Bagheria" and it's shown a Greek temple, but there are no Greek temples in Bagheria.

Right after Mary gets shot a frame of Vincent screaming enraged is shown a few steps below where he had just killed the assassin, next frame Michael clasps a motionless Mary and Vincent is seen calmly strolling upstairs in the background as you continue to hear his enraged cries.

Seconds after there's a shot of what appears to be a supposedly dead twin bodyguard checking on the assassin, and a somehow blood-stained suit worn by Vincent, who apparently jumped 20 steps in 3 seconds and now looks despaired.

When Mary Corleone is killed, one of Corleone's man is receiving a pistol from one of the twins which has been killed earlier in the movie by Mosca de Montelepre, the assassin hired to kill Michael Corleone.

The New York Times that is shown announcing Pope Pius I's "major overhaul" carries a 1990 (perhaps archival) copyright notice.

When Corleone allows himself to be shaved a towel is placed over his left shoulder.

A second later it is shown on his right shoulder.

However when the towel is placed on his shoulder he is seen reflected in his shaving mirror and the shot switches to a non reflected shot so it is actually on his right shoulder to start with.

When Mary gets out of the car in Italy, one of the presents she is holding is a box containing a Barbie doll.

The packaging is the style of the late 80s/early 90s, not that of 1979.

In one close-up of the dead Don Tomassino, he is clearly moving slightly or breathing.

No less than two shots of the dead Don Tomassino in the casket were done with very obvious rear projection, most evident by frozen film grain around the casket.

Meanwhile, Michael (to the left of the casket) is surrounded by a very natural film grain.

When Vincent shoots Joey Zasa, he first fires two shots and after that two blood stained bullet holes are visible in the glass door behind Zasa.

Vincent then fires another shot and hits Zasa again from the same position, but there is no third bullet hole in the glass.

If ever you need proof that Francis Ford Coppola lost his ability to make great movies sometime back in the 1970's, here is the living proof.Coppola decides to create a movie centered around family, by using way too many members of his own, woefully untalented family.

Francis Ford Coppola returns as director to complete his crime saga of the Corleones. Film begins many years after Part II, where an aging Michael is determined to legitimize the family business, to finally remove it from the violent setting that has dogged them for so long, but unfortunately his dealings with the Vatican, and challenges from a rival Mafia family once again pull him back into that world, and his attempts to make amends for his past, and find a worthy successor, do not go according to plan.

It has, obviously, great actors, decent direction and good music.But to me, all that got lost as the movie at no point managed to engage me in the characters, to the point where I would care if they got murdered or became rich and happy.

Do not mind the negative comments, in my opinion this film is a masterpiece, of course it is not better than the first one but I liked this one more than the second one. This film has the best performance of Al Pachino in the trilogy and so it is which is more dramatic and unique.

Okay it's the weakest of the Godfather films as Mario Puzo died before it would be produced, but I am also againist all those who claim that it's bad. It's a nice epilogue to Michael Corleone's story, paying tribute to his character who finally understands Vito's teachings.

This film suffers when you compare it to the previous two Godfather films. After all, when it is about a sequel, you immediately have expectations of it feeling the same as the previous one(s).

"this review may contain spoilers"There is a bit of a story that led to the creation of this third film back in 1990.After the huge success of Godfathers 1 and 2,which both managed to win nine academy awards in total including best picture of 1972 and 1974, Coppola decided to call it a day.

This movie is definitely underrated and criticized harshly. I can empathize with people who expected more action, thriller especially after watching the first two members of the sequel.

In this, the third (and hopefully final) Godfather film, mafia boss Michael Corleone (Al Pacino), wracked with guilt over his past sins, is one step closer to becoming a legitimate businessman. He's already earned respectability in the eyes of the church, who award him the holy order of St.