Hi, all!

just in case anyone was interested, i am planning to do a series of posts about the costume designs throughout the entire trilogy. just based on my own thoughts and analysis (plus some historical things i can dig up). i wrote the first part of it today, you can read it on my blog @ http://homairajaan.tumblr.com
and please feel free to add comments, i know you all have a wealth of opinions and knowledge i would LOVE to hear.

thanks,
pp

Great stuff, PP. It puts everything into perspective. The gangster stereotype pin stripe suit, black shirt and white tie is nothing but a Halloween costume. This shows the every day life and times of a family in that time period. I enjoy the scene when Vito is tending to his tomato garden because I remember my Sicilian grandfather wearing the same clothes as Brando wore. What a great post and a cherished memory.

Wonderful article, PP! I'm not a fashion expert. So, for me, the most striking thing about GF's costume design is that it reflects FFC's fanatical attention to detail. In Connie's wedding, you see that the men are all wearing short ties because of the wartime shortage of silk and synthetics like rayon. But look closely and you'll see that the young girls' hair is tied with strands of wool, not ribbons, for the same reason. Another nice touch: the old guy who sings puts his glasses in his suit jacket breast pocket: he's too vain to wear them while performing, but wants to remember where he put them.
Kay's picture hat is right on target for the period, too. Fredo's foppish outfit in Vegas was "high roller modern" for the period (as well as a dead giveaway to his impending treachery).
The only thing I thought was a bit overdone was Michael's outfit when he woos Kay in New Hampshire. With that ridiculous homburg hat, he looks more like a pint-sized banker than a "legitimate" businessman on a lovelorn mission.
David Thomsen, the famous UK film critic, has written that Pacino's style as Michael totally transformed the image of gangsters from what Mark described as the cliched stereotype.

thanks, Mark, and yes you're so right that this film shattered all previous stereotypes (in all realms), but definitely in terms of fashion. It's funny that you mention your grandfather, because I thought the same thing when studying Vito's attire- just like my own grandpa, in fact, down to the posture. I guess that just adds to the allure and love for Don Corleone in general.

TB!! I was hoping you would respond, I was actually watching II last night and "Turnbull is a good man" came on and I was thinking about you.
I was wondering, in your infinite GF knowledge, any idea what type of watch Michael wears? I caught glimpses of it throughout, it looks like a silver band, but I can't see much more than that. Let me know if you know

As far as Mike in New Hampshire, I think it was just very severe, a huge contrast to when we saw him before in Sicily- so it is jarring. And I agree, he does look like some sort of politician or like you say, banker. It's quite haunting, especially when you've watched it so many times and you realize his wooing Kay would be so pointless. He talks to her so differently, and you can't help but see that his dress matches his confidence, that he can get her to do whatever he wants now.

SIGH
when will i stop loving this film?(probably never)

-pp

PP, I'm afraid I'm no good on watches. Cars, yes. Watches, no.
The Havana sequence is so authentic that history professors urge their students to watch GFII so they can get a feel for what Havana looked like just before Castro took over. Among the authentic touches are the uniforms of the bellmen at the Capri hotel when Fredo shows up, the design of Michael's and Roth's hotel rooms, and the New Year's Eve show featuring Yolanda. You may also have noticed that, at the end of the scene, Cubans are bashing parking meters. That really happened: revenue from the meters was supposed to go to a children's hospital, but it ended up in Batista's pockets.

It's alright TB, it's a tough one. Especially since they are so hard to see clearly- even on the Coppola restoration- on blu-ray-in HD! And thanks for the bit of historical facts, I may use it and credit you in later postings =)
But yes, in II there are so many stylistic aspects to get through. You know, talking about this made me realize I need to continue the next post with more Part I, there's just too much more to explore there in terms of clothes, and I want to get into Philip Tattaglia, Carlo, and even Tessio and Luca.

I know that so much of this will be personal analysis, although I think I can say I have some authority since I've been watching these films since I can remember. Archival info, footage, etc (even on something like bonus materials in any of the dvd collections)- sadly never contains info on costume design. It's really the thing that defines these characters for us externally and it's super important.

-pp

I noticed the doorman/bellhop at the hotel in Cuba having a lime green jacket. If I remember correctly, he is the one who tries to help Fredo with the bag containing the 2 million dollars. Fredo pulls the bag away from the clerk and carries it himself. I always thought that was an odd color of a jacket to be wearing...turns out it is authentic! Learn something new every day!

PP,

What a great idea for a thread. I love all the pictures. What about Michaels attire when in Sicily (when he gets hit by the thunderbolt)? The beanie hat/cap was a nice touch no? And, I noticed in one of the pictures Sonny is wearing a cross/crucifix chain which I know was common during that time.

Kay's attire/hair seems to fit into the time also, even if I find much of her real life attire, a little out of whack (i.e. Annie Hall days).

TIS

hi TIS! Thanks, it's kind of a passion. I figured there was a reason I would dress in olive and brown vests and want to wear slacks after every time I would re-view the films- there is clearly tons of inspiration in them

I noticed Sonny's cross around his neck, it certainly gives him an edge- in terms of a kind of saint/sinner paradox. Sonny is so passionate and he definitely looks to be the initial, most obvious, savior of the family.

Kay (Diane) was very pretty in the original screen tests, I think, I mean maybe with pulled up hair, and even the little headband she wears, she looks really pretty- but I know that's not what they wanted for her, because she definitely is dressed and coiffed to look a bit stiff and put-together. In II, she really shines, I think that's when she's transformed, especially during the Hotel Washington scene ( man i can't wait to post on that- eeeeeeep!)

I personally find Diane Keaton's style off camera (especially in the Annie Hall years! to be very cool, modern, forward. I love it, but I can agree she looks most beautiful when she's girly.

-pp

pp, you've shined the light on an aspect of cinema that usually doesn't get much airplay. We've touched on the topic occasionally, but not to the depth you have. Bravo!
After many viewings of GF and II, I found myself scanning the background for decorations, knick-knacks, furniture, etc....but not so much the clothing. The obvious costumes were always interesting. Some are subtle and some rather garish, like that huge necklace Kay is wearing when Michael smacks her in GFII. It looks like something from Star Trek.
A few years ago I posted an observation about Luca's squeaky shoes as he walks down the hall to his demise in Bruno's bar. At the time, Professor Turnbull commented that during the war cheap shoes squeaked. I only mention this as another avenue for you to explore. There are some clothing items that we don't even see that are made for the times.
I also thought Luca's hat was a little large in the brim. Looked like it could have been a cowboy hat for city slickers.
Great job.

PP, one detail they missed in the early scenes in GF was the ugly cotton hose women had to wear because silk and nylon were needed for parachutes. That would have been especially true in the Sicily scenes. I guess the actresses drew the line there.

ooh MC , i LOVE that big necklace/brooch that Kay wears in the Hotel W scene and can I just say that in the blu-ray version, you can actually SEE she's wearing a longer chain necklace that has (and I hope I wasn't hallucinating) -but CROSSES on them. aaaaaaaah, that's why I can't wait to explore the symbolism there. Anyway, I noticed Luca's squeaky shoes and Don Tommasino's short, short tie (all things TB has mentioned, because you're right, he IS the professor of Godfatherology.) I will definitely touch on those, too.

Thanks for your support and inspirations and comments, please keep them comin!!

TB- ha! I woulda drawn the line, too. But it's funny I read that the actress who played Clemenza's wife (and Richie Castellanos real-life wife as well)- teased the production designer asking him how they planned to make Clemenza's wife 'pretty' in the cannoli scene. After getting a death stare, she calmed his fears by suggesting pin curlers and a scarf, the PD said he was thinking pin curlers and a hairnet, and she said it sounded perfect.
(but then again, that broad was the reason we didn't get Clem in II, so screw her)


pp

Amen to that!

Notice, suspenders where quite common during that era. I wonder if they were actually fashionable or were they literally used to hold pants up?


BTW, I'm still laughing at TB's comment about Pacino's hat making him look like a "pint sized banker" comment. As powerful as an actor he is, you tend to forget he is not a big guy.

TIS

The first time I ever saw Pacino in person was on Broadway in 1984, in "American Buffalo." I was SHOCKED at how diminutive he actually is.

lol

i know, poor thing if he was really mine, i'd have to live in flats for all of eternity.

but i'd deal

-pp

In that case, I'll take him PP. Being of short stature myself, I can relate. Actually, I think he's even taller than me.


TIS

But then again, we got Michael V. Gazzo as Frank Pentangeli. He makes GFII.

By chance, I happened to be at Christie's auction house in NYC for an art exhibit, and I ducked into an auction they were holding for movie and theatrical artifacts. One of them was one of Pacino's suits from GFIII. It was so small, I kept wondering if he wore it in the film--or to his First Communion.

that's true, thank goodness for Frankie. he's like 'yeaaaaah sure-why naaaaaaah?' one hand floating in the air.

anyway, i think that should be enough Pacino short jokes, thanks.

Yup, thank God for Frankie "Five Angels." In many ways, he was even more likeable than Clemenza!

LMAO First Communion suit? Oh no! Poor Al.

Maybe that's why he plays tough guys all the time. To make up for his vertical challengedness.

TIS

"Vertical challengedness"! TIS has invented another category of handicapped/disabled.

Getting back to this excellent--and unique--(thanks PP) topic:
Mark wisely observed that the ol' black shirt/white tie gangster cliche was put to bed in the Trilogy. But FFC resurrected it, probably deliberately, in II:
In the New Year's Eve nightclub scene, Fredo shows up in classic gangster threads: white Panama, white suit, black shirt, white tie. Seems like he's preparing for an audition for "Scarface" (too bad Al beat you to it, John). I think FFC dressed him that way because Michael had asked him to show the visiting politicians "a good time," and Fredo replied, "My specialty, right?" So, put in his usual sleazy position, the ol' bordello and Mickey Mouse nightclub operator dressed the part.
BTW: As the quality of Trilogy home videos improved, I noticed an amusing detail. In the earlies VHS tapes, I thought Fredo had a black hankerchief in his breast pocket. Now I see that it's a bunch of cigars.

I agree, TB, but, FFC did use the black and white fedora as a publicity still in part 1. I believe it's from the deleted (and apparently lost on the cutting room floor) scene where Michael shotguns Fabrizzio.

Off topic: Check out the Coke poster, circa 1955. Great attention to detail by FFC.

I liked the clothing Vito wore as an old man. Just what we used to call "old clothes." He would certainly never have spent the money to look sharp in the privcy of his mall and tomato garden.

Yea, neat poster!


"It's The Real Thing", "Things Go Better With Coke", "I'd Like To Buy The World A Coke"....Those I remember but "Coke Brightens Every Bite", can't say I remember.

It's those authentic little things that add so much to the feel of the era.

TIS

I liked it, too.
When I was very young, we lived in a part of the East New York, Brooklyn, neighborhood that was overwhelmingly Sicilian. Every middle aged or older man dressed exactly as Vito did in that scene, tending their tomatoes, except they all had gabardine caps.

TB, you know what you guys are so inspiring right now, i love this so much. you're right about the restoration dvd's like i mentioned earlier with Kay's jewelry- and now you point out the cigars in Freddie's pocket, it's so lovely to be able to see those things now. As far as the cliche gangster uniform pre-Godfather, and that brilliant photo pizzaboy posted (which I had never seen before this), I always thought of this black & white promotional photo I have of Al. I just know it wouldn't have matched Michael's demeanor, he wouldn't go into Louis like a fake me out gangster wannabe. (he looks awesome though, but still).

As far as Fredo, even the scene where they are at that freak show, he looks like a Vegas guy, with the hat, and he's always rocking some white suit and wide spread collars.

I have to get writing on some more Part I stuff soon, because now I'm super excited to write about II. And then III, lord, that's going to be a SHOW. I'll keep you guys all updated with my new posts, but yeah, please keep this going, this is wonderful.

-pp

i agree, and plus, he had so much style and substance in his personality, he didn't have to look powerful, he didn't have to try. remember his robe and pajamas in the scene with Tom re: Sonny? he's like a weary king, he looks like a king even at his lowest. he don't apologize. *SIGH*