Michael, who now navigates the rarefied echelons of global society, offers the man $500 million in exchange for controlling interest in an international real estate conglomerate operated by the church. Michael (Al Pacino), having long ago legitimized his family’s underworld power by corporatizing it, speaks to the head of the Vatican Bank, Archbishop Gilday (Donal Donnelly), who timidly confesses that his poor, nepotistic investments have lost the Catholic Church countless millions. It begins with an echo of the first film’s introduction, albeit with Vito Corleone’s intimate backroom study replaced with the bright, looming halls of the Vatican. Whatever else might be said of its merits and flaws, the final installment of Francis Ford Coppola’s Godfather trilogy immediately establishes a tone that’s bracing for its bleak, almost nihilistic cynicism.
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