![]() In “Godfather III,” we have to buy that Michael, in the years leading up to 1979, has undergone a change - that in his cold dark staring way he has softened and is looking for redemption. But Michael Corleone? At the age of 50, he would never have abandoned his old-school Italian coif, the hair oiled straight back (just like his father’s), which gave him the look of a mobster cobra. ![]() I can certainly imagine that Al Pacino, in the early ’90s, might have shown up on the red carpet sporting a thatchy salt-and-pepper bristle cut. I’m talking about Michael Corleone’s hair. ![]() And why would Michael, now bent on respectability, object to his son becoming an opera singer?) What’s more, there’s a detail in the movie that’s so wrong it jars me in almost every scene. (Joe Mantegna’s Joey Zasa first seems a minor-league mobster, then he’s a showboating celebrity kingpin. The storytelling, at times, is slipshod and arbitrary. Thirty years after its release, the flaws of “The Godfather Part III” are just as pronounced. I think that’s a tad overstated, but I stand by it.
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