Coppola
Brando's raspy-voiced role (later to be mimicked by a host of impersonators) was difficult in one respect for Coppola in that the actor was 47 at the time, much too young for the aging Mafia don. The problem was solved by makeup expert Dick Smith, who has accomplished similar wonders in The Exorcist (1973) and in Little Big Man (1970), where he aged Dustin Hoffman to 100 years old. Smith added wrinkles to Brando's skin by applying liquid latex, especially around the eyes and nose. A leathery appearance was achieved the same way, along with loose flesh and bags beneath the eyes. He imparted olive skin tones to give Brando a Mediterranean appearance. A special denture was inserted along his lower jawline to make the actor's jaw jut out in a completely different bite and to cause his cheeks to sag. He then stuffed the actor's cheeks with a gummy substance to affect heavy jowls, and it was this device that altered the actor's appearance drastically, giving rise to wild speculation that Brando spent hours stuffing his cheeks with cotton, facial tissue, and newspapers. The film is dark--Coppola had cinematographer Gordon Willis deliberately underlight each scene; the mood is dark; and the climax, in which Mich
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Some common words found in the essay are:
Gordon Willis, Ford Coppola, Bonasera Godfather, Brando Mediterranean, Marlon Brando, Exciting Scenes-The, John Grisham, Rumble Fish, Dustin Hoffman, Al Pacino, ford coppola, francis ford, francis ford coppola, vito corleone, gordon willis, cinematographer gordon willis, don vito, al pacino, themes film, marlon brando, nino rota, don vito corleone, rain people,
Approximate Word count = 1564
Approximate Pages = 6 (250 words per page double spaced)
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