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eries of slides of great painting styles. For example, there are relatively few brightly lit white-lighted exterior scenes among which Vito's mother's appeal to Don Cicci, the procession in New York during which Vito kills Fannuci, and the party held at the Lake Tahoe estate predominate. Otherwise, Coppola films his epic narrative in consistently subdued, dark, and barely lit or back-lighted tones and colors.

Indeed, Mario Puzo and Coppola (1973), in the script for the film emphasize the fact that most of the scenes involving Mich'l are to be shot in relatively darkness wherea

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