In this essay I talk about the use of lighting in the opening scene of The Godfather. The shots of The Godfather as a whole are organized and used explicitly to create moods and have extraordinary mental effects. This is equally valid for the very first arrangement of shots in the film, and perhaps progressively significant since these first shots will give the audience the underlying feeling of the film and give a rhythm to the image. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The first shot is exceptionally exciting in its lighting strategy and viewers are immediately drawn to the details. A man begins to discover the subtleties of a regrettable event that happened to his little girl. You can't see who he's talking to. A spotlight legitimately shining from above the man's head, most of the lighting is used on the man. This really lights up the highest point of his head, which is uncovered, but there isn't a burnt spot, overexposure or specular light reflection from his bald head, which is a good sign because it doesn't take away from the attraction of the public by man. performance. There is darkness under the eyes caused by the lighting, which accentuates the anger and ultimately contempt for what he is talking about. In this scene the main focus is on the man, that's why you will find the man lit but not so much the background. Despite the fact that this is not consistently real, since this or some other great film draws intensely on our desires and our creative mind to convey a message or importance. We as a group of viewers recognize the elements that are not real, on the off chance that they help make the story even more engaging. There is another light set with the goal that the man has a noticeable feature in the focal point of his gaze. dark eyes, as seen in the image below. This characteristic area of ​​his eyes is the part of the envelope that has the greatest contrast, so normally the crowd is hypnotized by the man's gaze, furthermore, with the man's gaze into the camera the same result is achieved. As the man speaks, the camera slowly pans back and the remaining background is exposed. Now we may see a portion of the back and side of the Godfather which is Marlon Brando, but we have a slight feature of Brando that is not in focus, known as an over the shoulder shot, as shown below. Immediately the man stands up and walks around the table and is now part of the darkness of the Godfather, we are made to believe that there are two characters in this scene. At that point the shot is different as the man turns away from the Godfather, and it is a medium close-up of the God the Father, as shown below. This MCU is brighter than the previous shot showing the Godfather side. Where the over the shoulder shot was dark with no details, but in this shot the objects and background are visible. The lighting set on the Godfather is a fill, key and back light and his character is discovered very forcefully in the light of the emotional light changes from shot to shot. By the time the shot returns to the man, over the shoulder style (Brando), once again the background is completely dark. Having the man in that specific light and having Brando illuminated the way he is satisfies two mental needs. For starters, having the solid dark foundation behind man isolates his worry and makes us aware of how consumed he is by his worry. It's dim, dim, and he's in a universe of darkness because his girlfriend is an amazing "light", and.