Sofia Coppola and Godfather Part III

Couldn't think of a snappier title, but basically I'll defend her performance until the day I die

I have never understood the hatred for Godfather Part III, how extreme it is, the anger it creates and how I’ve never heard a reason for this melodramatic panning of the film. Perhaps because of my parents always defending it at Christmas dinners and being told by them to watch it with an open mind and heart that I enjoy it and gladly rewatch it. It’s the one where the girls finally have their say, the irresistible Andy García is fantastic with his James Caan mannerisms, the silent scream, and Michael dying alone with nothing and no one (and rightfully so, but don’t tell my Dad that). There is also one person who, along with the film, I strongly believe deserves justice after years of unfair criticisms: Sofia Coppola.

Now I’m not going to argue that Sofia Coppola is a world-class actress, some of her line deliveries are cringeworthy and in ensemble scenes she is swamped by the big actors, but this is perfect for the character of Mary. She is innocent with blind love for her father, who has successfully shielded her from the evils of the world and the family business. She is not streetwise like her cousin/lover Vincent, or spoilt like how her Aunt Connie was, and has either buried the memories or been so coddled that she hasn’t experienced the family traumas the same way as the others. Unlike her brother, Anthony, who is somewhat haunted by the Lake Tahoe shooting, and is more aware of who his father actually is, Mary only just remembers the shooting, and when she does question rumours such as her father using her as a front or him killing her Uncle Fredo, she does it with innocence. She is of the world of private schools and charity balls, she doesn’t belong in the mob world, she hasn’t been trained for it and her exposure to it has been veiled by the family’s Italianness. Therefore, of course she will appear awkward once thrusted into the underbelly of the family business.

There is also the simple argument that some people, especially nineteen-year-olds who are locked away in ivory towers, are awkward. As much as I love Winona Ryder, the first choice for Mary Corleone, I simply cannot imagine her playing the role any better or any less awkward than Sofia Coppola. Ryder dropping out of the film on medical grounds, and Sofia Coppola filling her boots because she is Francis Ford’s daughter has been a contentious topic for thirty-odd years. However, this is a case where the act of nepotism works and makes sense. Nepotism and tight family ties are important themes in not only The Godfather trilogy, but in many depictions of the Mafia in popular culture. High-ranking roles will be bestowed upon you because you’re born into it, not always because you’re good or equipped for it. Look at Fredo (granted John Cazale was a much more highly-skilled actor), he’s immature, not the most competent, and a little bit odd, but was given the Las Vegas responsibilities simply because he was the Don’s son – perhaps Mary has inherited some of her uncle’s awkward traits? 

Another contentious topic is the chemistry between Sofia’s Mary and Andy García’s Vincent. Wooden is a word I have often heard to describe it, but I would argue, as it should be. For it to have been passionate, hot, steamy, sexy would have been wrong. It should be uncomfortable to watch because they’re cousins. They know it’s weird and frowned upon and are acting accordingly. Plus, presumably Mary went to an all-girl’s Catholic school, and as someone who also went to one, I can tell you it takes time to get your flirting game up to scratch with the opposite sex. Also, the difference in the character depictions perfectly shows the difference in their upbringings. It’s done in a typical uptown girl downtown boy fashion, but it works. And I’ll stress again, they’re first cousins.

One thing that Sofia Coppola does excel at in the film is Mary’s sense of style. This might sound like a frivolous argument, but having a strong sense of style, la bella figura if you will, is very important in the mob genre, go ask Martin Scorsese and all the girlies in last month’s Mob Wife Aesthetic discourse. The lusciously long hair, minimalist shapes in luxurious fabrics, barely there make-up – just a slick of dark sheer lipstick, and antique jewellery gives Mary this 1970s version of Quiet Luxury, which perfectly compliments the way she has been brought up. It would make no sense for her to be dressed like the women in Goodfellas, being from a higher ranking, she doesn’t need to prove or show off her wealth. The only time when she does dress in a more recognisable mob wife way is when she visits Vincent at his club, on his turf, “the old neighbourhood,” to flirt with him. Similar to Diane Keaton, her on-screen mother, Sofia has an eye and a way with style, something you just naturally possess and cannot be created, and this is a shining quality of Mary and of the film.

Finally, Mary is arguably the precursor or blueprint for Sofia Coppola’s directorial career, and like all attempts, the first debut will always be a bit shaky. Mary is a classic Sofia character – a privileged, fashionable, isolated, confined to certain spaces teenage girl on the cusp of womanhood. To have had the film’s perspective through Mary’s eyes would have been a very sweet but lonely look at a father and daughter’s relationship, one of unconditional love and misguided trust. An Italian princess locked away in a Manhattan high-rise full of gilded mahogany, velvet dresses, charities for orphans and handsome cousins. This is Sofia Coppola’s wheelhouse, and this is why no one else could have played Mary.

Take heed of my parents’ advice and rewatch the film with an open heart and mind, because rewatches is what this film deserves and rewards you with. And I’m talking about rewatching the original cut, let’s not get all apologetic with Coda, it is brilliant just the way it is. Open yourself to Sofia Coppola’s awkward vulnerability, maybe even watch one of her films beforehand to familiarise yourself with her style and lens of girlhood. Both Sofia and Mary are a young and inexperienced deer caught in headlights, and it works. Plus, any excuse to rewatch Andy García and his glorious chest hair in the red kimono…