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Next to Kay, Michael and his uniform nearly disappear, swallowed by the aimless enormity of her gown. The camera frames the tomato garden at the center of the backyard; in the confines of the garden lies Vito’s body.
What is often gravely overlooked is how much Johnstone’s genius—meticulous, deliberate, pointed—shaped the women’s fashions in the film.
Strategic Leadership: Navigating a world of crime and power struggles, Don Vito showcases strategic leadership, making calculated decisions to ensure the survival and success of his family. The type of lapel of Brando's suit, a cran necker lapel, has a cutaway and a gap on the lapel just below the shoulder about sternum height, which then broadens to a wider lapel. Locate a black vintage tuxedo to replicate the one Brando wore to his daughter's wedding in the movie.
Step into formal black trousers with standard-hemmed bottoms and a distinct, but sharp center crease, with satin stripes down each leg. Nowhere in the film are we confronted with the archetypal contrasts of these women more than in an abrupt scene cut from one woman to the next, which cuts across geography and cloth. Indeed, our first glimpse of Apollonia — perhaps because it is also Michael’s — is a carnal yet unfussy one.In the mid-’50s, she outfitted the cool of Marlon Brando in On the Waterfront and of James Dean in East of Eden. She wants to get in touch with Michael, though Tom Hagen (Robert Duvall), who meets her at the compound gates, refuses to pass on her letter to for fear of being further implicated in Michael’s hiding.