And it must stem from their own flawed character: Lear’s pride causes him to drive away the one daughter who truly loves him. It must be a noble figure who falls-our doomed protagonist needs to be a real pezzonovante. The second question the film raises is tied up with all of the complex reasons Part III is argued about so passionately among a certain subset of film fan: What is it about tragedy that draws us? Like horror, it is a seeming contradiction that we want to be entertained by seeing downfall and disaster. Those looking to risk their health to see it in any theaters exhibiting it should really, really not do that. Those looking to this edit for some grand change in the original film’s themes will come out unsure they clicked on the right rental. There’s a tad more suspense during the final few scenes in Sicily, for example, because they cut some of Eli Wallach’s skullduggery.
Besides a reshuffling of one or two scenes, I could detect only a few significant changes from the original, and at least some were subtractive rather than additive. The first question raised by The Godfather Coda: The Death of Michael Corleone, Francis Ford Coppola’s remaster/re-edit of his 1990 film The Godfather Part III, is “What’s different?” I’ll spoil that for you: Not much, apart from a change to the very last shot of the original version that is minor in its execution.
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