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.

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