Why The Godfather Part III Actually Outshines Its Legendary Prequels in One Surprising Way

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Compared to the preceding films in the Godfather trilogy, The Godfather Part III is often perceived as a slight drop in quality, but this doesn’t mean it’s a poor film. In fact, the first two movies, The Godfather I and II, are considered masterpieces of cinema. However, when it comes to character development, especially female characters, The Godfather Part III surpasses its predecessors significantly. Both The Godfather and its sequel may be regarded as artistic milestones, but their depiction of women has been a point of criticism.

In the world portrayed by “The Godfather” trilogy, Vito and Michael Corleone wield power in a male-dominated environment that offers limited opportunities for women to thrive beyond their family duties. As the name implies, the saga primarily revolves around a patriarch who significantly influences the lives of the other characters.

Although many aspects of “The Godfather” remain relevant today, the absence of significant female roles in the main narrative is now being critically examined. On the other hand, “The Godfather Part III” is commended for its focus on women’s stories.

Female Characters Are Limited To Background Roles In The Godfather & Its Sequel

The Godfather’s Women Are Important, But Ultimately Secondary

While it’s not incorrect to consider Diane Keaton’s Kay Adams-Corleone as a largely unrecognized hero in the Godfather series, it’s important to note that female characters don’t play central roles in the plot of the first two Godfather films. The initial film starts with Connie Corleone’s wedding, but her involvement is minimal as the significant events of the extended opening unfold in Vito Corleone’s office, or through Michael Corleone narrating his family’s history in extended soliloquies.

In “The Godfather,” Michael’s girlfriend, Kay, often watches in amusement as she elicits responses from Al Pacino’s character that he is eager to provide. It’s important to note that the death of Apollonia, Michael Corleone’s first wife, significantly alters his character trajectory in the film. This event occurs when a car bomb meant for Michael detonates in Sicily. However, similar to Apollonia, Kay speaks very little throughout the movie. She is merely depicted as an ornament on Michael’s arm, capturing his affection primarily due to her appearance, and offering minimal development as a character.

In the events that unfold, Connie Corleone’s marital issues don’t directly lead to the demise of her eldest son, Sonny Corleone, played by James Caan. Instead, she is portrayed as a pampered and emotional daughter who relies heavily on her husband or brothers’ decisions. She doesn’t actively participate in what transpires.

In contrast to the original Godfather film, The Godfather Part II features female characters less prominently. Connie Corleone is barely present in the movie, while Kay Adams only gains control over her circumstances by choosing to leave Michael. Carmela Corleone, Vito’s wife, plays a significant role in one of Michael’s most heinous crimes in the Godfather series, but she does so merely by passing away, enabling Michael to assassinate his brother Fredo without any repercussions from their mother.

The Godfather Part III Puts 3 Women At The Center Of The Story

Kay, Mary & Connie Corleone All Play Key Roles And Have Their Own Agency

In a reversal, in The Godfather Part III, Kay Adams-Corleone assumes a significant position within the narrative, sharing the spotlight with Michael. After reconciling, their relationship becomes more balanced, with both having an equal say in the upbringing of their children. Interestingly, it’s Kay who encourages Michael to face his remorse regarding Fredo’s death, a topic she brings up even though they are no longer married at the time. In this installment, Kay exhibits more autonomy as Michael Corleone’s former spouse compared to her portrayal in the first two films.

As a cinephile, I must say that The Godfather Part III offers a refreshing change in the character arc of Connie Corleone. Unlike in the previous parts, she steps into the limelight as a more assertive and influential figure within the Corleone family. We witness her granting approvals and issuing commands, even going so far as to participate directly in the elimination of a rival mafia boss. The surprising twist comes when Connie herself takes the life of New York mafioso Osvaldo Altobello, her godfather no more, by administering poison through a birthday gift.

In “The Godfather Part III,” Sofia Coppola portrays Mary Corleone, a fresh character and one of the most debated figures throughout the trilogy. Critics were not kind to her performance at the film’s premiere. However, Mary is yet another powerful female character in the movie, a determined young adult who pursues her desires despite her influential father’s wishes.

In “The Godfather Part III,” it can be said that Mary Corleone ultimately suffers the most tragic fate, becoming an instrument for Michael to endure a punishment more severe than his own demise. However, right up until her death in the crossfire, Mary presents herself as a stark contrast to the powerless and oppressed Corleone women of past times.

The Godfather’s Story Can Be Interpreted As Either Sexist, Or A Critique Of Toxic Masculinity & Misogyny

There’s Certainly Some Authenticity To Its Misogynistic Representation Of The Mafia

It’s clear that The Godfather Part III stands out among the trilogy as a strong illustration of gender disparity in American cinema. Yet, some argue that the Godfather films are merely reflecting the reality of the Sicilian-American mafia, with its prevalent misogyny.

The movies depict their male protagonists as poor role models for masculinity. From Sonny’s thoughtless infidelity at Connie’s wedding to his maid of honor, to Michael’s harsh treatment of Kay and his children in the finale of The Godfather Part II, the characters show a lack of respect and empathy towards women and family. Even Vito Corleone, in a deleted scene from The Godfather, states, “Never come between a man and his wife.” Throughout the trilogy, there are instances where characters express a preference for sons over daughters.

It’s clear that these films are not merely accepted without question when it comes to their portrayal of the mafia. The Godfather trilogy, in particular, deliberately criticizes the macho culture and morality associated with the mafia. However, whether the films provide enough criticism or leave too much for the viewer to decide regarding overt sexism and female oppression remains a topic of discussion. Regardless, their ability to realistically and artistically depict the world of real-life mobsters and weave compelling narratives is undeniable.

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2025-05-12 03:06