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Scarface (Universal Cinema Classics) Posters
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Rating:  -
The original scarface, so much different the 1970's remake. The two movies are night and day. This is a true pre-code noir gangster film made by Howard Hughes, loosely based on the life Al Capone who was terrorizing the streets of America at the time, the use of shadow and subtle violence in this movie makes it a very good example of early noir.
Rating:  -
SCARFACE (1932) is an outstandingly remarkable movie, and even more so, for its
time, as it captures the events unfolding during Prohibition, that were very
closely followed by talented, modern investigative journalists who had mastered
the art of telling stories that sold copy in the stands, from its tabloid style,
completely new at the time.
Of course, not to be confused with the Al Pacino work concerning Cuban refugees
back in the early 1980's, this SCARFACE motion picture is one of the earliestworks that is completely, immensely, unlimited in its brutality as shown by
those ruling the underworld in Chicago and elsewhere, in terms of forcing
saloons to buy spirits and beer from them, in the volumes and amounts they
desired, the introduction of up to then unseen weaponry by gangs, which is the
rapid fire machine gun, and thoughtless execution of rival gang members, over
territory hegemony.
A questionable aspect, perhaps redundant, inexplicable or bizarre, is the
meshing of the underlying gang warfare events with the overprotective behavior
of the gang leader concerning his 18 year old sister, and her desire to form
marriage and leave the parental nest to build her own life.
The movie is slightly on the long-side due to the distraction of the family drama already mentioned; however, there is outstanding non-stop adrenalin
pumping action, in terms of brow-beating, man to man combats, pistol firing, explosions, and mid-way, machine gunning let loose on the city, with some gangs taking out rivals, like fishing in a barrel teaming with specie.
PAUL MUNI, is remarkable, in his ability to be of a one-track-mind, laser-
focused in terms of showing a man's own self-made reality, that brings him
success in this particular line of business, which is gangsterism, and
eliminating rivals, overreacting exaggeratedly to risks to his leadership thru a
Macchevelian form of action from start to finish.
The filming brings to life the script with immense realism, and despite having
been filmed almost 15 years before WWII, is completely believable, and viewers
will build a rapport with the characters, and city settings instantly, such is
the hyper-modern feel of the sets, (automobiles, night clubs, streets, night lights, gunfire, police, etc) with the only exception the technology of the
telephone, requiring an operator before each and every call made.
The motto of the current Whitehouse administration, conceivably was rooted in this work, considering the blackening of "habeas corpus" that is made in this
movie, shown as a tool that protects gangsters from being put into jail, with
the Patriot Act in the back of one's mind that suspended that right due to the
events of 9/11. Also, gun sales and lack of strong laws are at the top of list
of citizen complaints in 1930's, in dealing with the anarchy on the streets.
Paul Muni is remarkable also in articulating a wicked personal sense of humor
in his dialogs, and interactions with his men and women, that most will fail to
grasp, dismissing it as madness, which in the end, the character begins to
realize is the case.
The gang boss offers the advice in staying on top as: shooting first, relying on
yourself to do the shooting, and to be doing it often.
SCARFACE is also a critique of the wave of aliens from Sicily, thousands of whom
adopted the underworld lifestyle, and an education for the unwashed masses, as
social, sporting recreation clubs are fronts for gang hideouts: bowling alleys,
pool tables, expensive high-end theatres and restaurants are often attended by
the leadership. New technology, such as bullet proof car windows, and steel
plated doors, are introduced, as a reeactions to drive by shootings, molotov
cocktails, car chases, etc.
An element that sticks out from the grime of the underworld, are the tall, shy,
artistic and feminine, innocent classy women depicted here, as being the type
the gangsters deal with, when perhaps in reality, this is 180 degrees from what
it should be ; it makes for good entertainment (Anne Dvorak, Karen Morley.)
Clearly, this work is very touchy to show in public, as was the case with Ashley
Judd's N0RMAL LIFE picture.
Rating: -
The early 1930's of Chicago mob rule with the great "immigrant" performance of Paul Muni as the crazed smart suave mobster that overtook both North and South sides of Chicago during prohibition is a tremendous movie that was a landmark in motion picture history and should not to be missed by any fan of this genre.
The movie is non stop entertainment with great character portrayal and the great addition of showing the alternate ending scene on the DVD casts this movie in so many lights that it is little wonder it is considered the classic that it is.
The sociological importance on viewing gangsterdom sympathetically as a way out of poverty where the individual pulls himself out of his straits by any means necessary despite murder and brutality OR the idea that principles of good and evil prevail and murder is murder and deserves to be punished is made explicitly clear by the two contrasting endings.
It may be easy to empathize with "scarface" and his distinct manipulation of the elements but his maniacal jealousy lacking loyalty, his paranoia and ultimately the distrust he shows for all even his sister is crystal clear by choosing his ultimate death as the coward deep down he is.
The psychological drama of depicting the 'immigrant" made into a larger than life persona, unstoppable, achieving the "will to power" boundlessly, the craving for American success, money, the Blond, by overcoming one's own inferiority complex by ruthless behavior and finally justice gets it's due is certainly the public service this film is about.
Not to be missed, prophetic that this film preceded Hitler and the murders of the post Holocaust world we live in.
The advent of the Tommy Gun in the flick was a precursor to the gas chambers of the concentration camps.
Rating: -
A note on Howard Hawks the director of Scareface. Like many of his characters Howard Hawks is good but not obviously so and not according to the usual standards. He is one of the last American directors to be considered a major artist. To some extent this is because, like those characters in his films who naturally discount their achievements, he refused to claim his work as anything but entertainment. He defined the good director merely as "somebody who doesn't annoy you," and insisted "I'm interested in having people go and see the picture, and enjoy it." His films are so enjoyable that they have been dismissed as superficial. And they never annoy.
Rating: -
Very clean transfer, a great movie for fans of Scarface and the well known 80s version. This movie holds up very well to today. I wish there were more extras, but I am satisfied with what is there.
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