The lighting of the first scene contributed to make it mythical

In this scene there are, on one side, the characters modeled in the shadow, associated with the dark side of human existence, and on the other the guests of sunny marriage, turned towards life. This contrast embodies the transition throughout the film between these two opposing worlds. To the joysticks of this work of photography in chiaroscuro, the talented and perfectionist Gordon Willis. His collaboration with Coppola was stormy but ultimately led to a fine and memorable work, which influenced the general atmosphere and transcended the film itself. With in particular the find of lighting in the shower of the characters where the light reveals to the bare minimum their face.

Make-up work on Marlon Brando

The makeup was worked in the same vein as the chiaroscuro lighting of the artistic director. To deviate from the realism of the star actor and make him a mythical character, he worked every wrinkle by playing light and shadows. In addition the actor wore a kind of mask (which stretched his skin for aging) and triangular buccal prostheses (in order to weigh down his cheeks).

Photo Getty Silver Screen Collection

The head of the horse was true!

The head of a horse that Jack Woltz finds in his bed is a real head. The actor's cry (John Marley) is real because he did not know that the plastic headform had been replaced by that one. Animal protection groups have even protested against the addition of this scene. Later, Coppola explained that the horse's head had been delivered to him by a dog food company and that no horse had been killed specifically for the need to shoot.

Photo DR Paramount The Godfather

Coppola did not want scenes of violence

Francis Coppola, who was one of the prodigies-with Spielberg and De Palma-who made the Hollywood studios successful in the seventies, did not want violence in the Godfather . Indeed his scenario did not include certain scenes that have since become mythical as the attack on Santino. However, he did not succeed with the Paramount, and he filmed the violence by mixing the feeling of nostalgia that makes the identity of the film.

The "Coppola touch" was born with the Godfather!

That of the greatness and decay of the mortals who one day have taken for gods ... A quasi-universal theme that will be found decrypted throughout the films of Coppola as a trademark. Interviewed on the occasion of his film Tétro , he explains that he often wanted to film

a paternal figure all but biblical, which we must face and finally destroy. Since the dawn of time, we are all supposed to compete with the dominant males of our family, as is also the case in the animal kingdom.

The godfather will be his first success in 1972, followed by works as personal and artistic (Outsiders and Rusty James) as general public (Cotton Club and Apocalypse Now).