We recently did a list of real bodily transformations in film, so it's only fair that now we look on the flipside and consider those bodily transformations that had nothing to do with an actor's ability to stay on or off carbs but rather tested their patience in the makeup chair. Of course, some had it easier than others: Goldie Hawn probably sat in makeup for hours for her fat scenes in Death Becomes Her and practically nobody noticed. On the other hand, Marlon Brando stuck something in his mouth and became an icon. (There's a joke waiting to be made here, but we won't be the ones to make it.) And some just got to walk around pretending they had a big schlong. You'll find them here, in our list of The Ten Greatest Prosthetics in Movie History.



Marlon Brando's Cheeks in THE GODFATHER (1972)

One of the most famous prosthetics in the history of film can't actually be seen on screen: it's stuffed inside Marlon Brando's mouth. No, not a Big Mac. It's a dental prosthetic designed especially for the actor, and which he uses throughout the film to facilitate both a vocal and physical transformation into Don Vito Corleone. Conceiving of the character as resembling a bulldog, Brando showed up for his screen test with cotton wool crammed between his teeth and the inside of his cheeks to give him a jowly, determined look; once he was cast, it soon became apparent that, however Method it might have been, this was an untenable choice, since the cotton dried out his mouth and left him unable to deliver his lines. Coppola, who was just beginning a long and agonizing decade of catering to Brando's ever-eccentric behavior, stepped in and had the dental prosthetic constructed. After he started using it, the actor discovered another happy accident: the way it shaped his cheeks and mouth helped him to lower his voice to the scratchy whisper that Brando was going for with the character, which he patterned after real-life mobster Frank Costello's raspy intonation. Though it's never actually seen (and it's left completely unexplained why Robert DeNiro, playing the young Vito Corleone in flashbacks in the film's sequel, has an entirely different facial structure), the plastic doohickey helped create one of the most memorable of all film icons, and boosted sales of cotton balls as a generation of bad impressionists found an easy way out.



Steve Martin's Nose in ROXANNE (1987)

This modern version of Cyrano de Bergerac is a comedy, so Martin's "C.D." doesn't have to die at the end or fail to get the girl. But he does have to go through the whole movie with a nose like a foot-long breadstick jutting out from the center of his face. As befits the non-tragic tone of the movie, the nose is too openly silly-looking to make Martin look ugly, though it does look unwieldy, especially in a shot where a bird perches on it and in a scene where Darryl Hannah slaps his face. (Instead of reacting to the slap by touching his cheek, his places his fingers on the bridge of his nose, as if afraid that it might come flying off.) The nose also adds an unacknowledged layer of comedy to the happy ending: so this Cyrano gets his Roxanne, but how is he going to kiss her?



Alec Guinness's Teeth in THE LADYKILLERS (1955)

Leading a gang of blackguards who rent a room from a sweet old lady so they can use it as a gathering place to work on plans for their armored car heist, Guinness needs a physical quality to set him apart and clearly define him as team leader. He finds it in his enormous choppers, which serve as an unspoken reminder to the younger and stronger men in the room that if they give him any guff, he can always bite their heads off. Trying to follow in Guinness's footsteps in the 2004 remake, Tom Hanks affected a Colonel Sanders-from-Hell look, an oil-slick hairdo, and a laugh that seemed to be coming out of his ears, none of which served him half as well as Guinness's malignant bear-trap grin.

Mark Wahlberg's Penis, in BOOGIE NIGHTS (1997)

Paul Thomas Anderson's porn-industry saga Boogie Nights is many things to many people: an epic, a comedy, a drama, a tragedy, a period piece. But for a good part of its running time, we were a bit worried that the film was also going to be a Beckett-ian exercise in dislocation: Waiting for Godot, except this time Godot is a giant dong. Luckily, director Anderson knew the delicate balance he was striking here: a movie in which we constantly saw rising porn star Dirk Diggler's allegedly massive dick would have been exploitative and unreleasable; but to not show it would feel exploitative in a wholly different way. So, understanding the value of a good money shot, Anderson waited until the last moment of the film to reveal its ostensible protagonist. The result was dramatically sound, curiously poetic, and also broke new ground in male onscreen nudity. Of course, it was also a fake. A damn good fake. There are still people out there who think that grand revelation was Marky Mark's actual member. Some of them are probably hanging out in his rec room as we speak.



Orson Welles's Face in TOUCH OF EVIL (1958)

Had he played the role of the brilliant but hopelessly corrupt border cop Hank Quinlan ten years later, Orson Welles wouldn't have needed any help from his makeup department. In 1958, though, the director still had yet to be completely ruined by rich food and high living, so he relied on padded clothing and tricky camera angles to make him look fat and shambolic, and layers and layers of prosthetics to give his face the appearance of an aging, gin-blossomed alcoholic. Quinlan's addiction to dandy candy and quicker liquor accounts for his puffy cheeks, bloated nose, and crooked teeth, and he looks like such a fright that even a long-in-the-tooth Marlene Dietrich is shocked at his appearance. Accompanied by a memorable fat-man gait, an out-of-breath voice and a tremendously ravaged performance, the prosthetics turned the director into a hulking parody of the man he would later become. Welles himself told this story: since filming often ran quite late (he did much of the principal photography at night to avoid the prying eyes of studio spies dispatched to keep him in line), one evening he found himself on the way to a dinner party while still wearing the bulbous nose and flappy cheeks of Hank Quinlan. Arriving home to greet his guests, one actress sized him up — having not seen him for several months — and said, through a terribly forced grin, "Oh, Orson! You look wonderful!"

— Paul Clark, Bilge Ebiri, Phil Nugent, Leonard Pierce, Vadim Rizov