All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Big Louis Costillo, last of the old-style gang leaders is slain, and his former bodyguard Tony Camonte is taken into custody. Since Costillo's body has never been found, the police have to release him, though they strongly suspect Johnny Lovo paid Tony to remove Big Louis. Tony begins taking over the rackets in town with violent enforcement, and he becomes a threat to Johnny and the other bosses unless they work for Tony. Meanwhile, Tony's sister wants to be more independent, but finds it difficult to escape from her brother's overprotective grasp. The dissatisfaction of the other bosses and the relentless pursuit of the police push Tony towards a major confrontation.
"Look at ma shit!"
Oh wait, wrong movie. I am guessing there's a version of that scene in the Pacino remake, and that's what James Franco's Spring Breakers character would have been referencing. But it's the first thing I thought about when I saw Paul Muni's Tony showing off for his gangster-moll-to-be.
Despite the fact that he sometimes linguistically wanders into Chico Marx territory, Muni's Scarface is a revelation: Larger than life, scary, charming, funny, and surprisingly layered. For all the violence - and this film is very violent - it's his boyish glee when shooting off his first tommy gun that will stick with me. And also his need to find out the ending of the play he was…
I'm not gonna lie, Scarface is not a perfect film—the secondary acting isn't great, the commentary on violence (more like an excuse for Howard Hawks to have fun with a violent film) felt a lot more present back in '32 than what it does now (and, to top it off, the film sometimes loses itself in its own violence), it lacks a bit of emotional impact and the editing isn't the best (the truth is that Scarface looks like a set of small episodes of the life of Tony Camonte and not like a continuous film—what I mean is that the way the scenes are cut together doesn't favor the film). However, the truth is that I had a truly…
Film #7 of Project 30
”Listen, Little Boy, in this business there's only one law you gotta follow to keep out of trouble: Do it first, do it yourself, and keep on doing it.”
Produced by the legendary Howard Hughes and directed by Howard Hawks, Scarface is considered to be one of the most influential films of the gangster genre and it’s no surprise that many plot and character points that nowadays we call cliches of the genre actually originate from this 90 minute roller coaster: The hot tempered ambitous mobster who is having anger management problems is at the center of the plot, he is someone who’s doing everything he can to grab the woman he wants and when…
Listen, Little Boy, in this business there's only one law you gotta follow to keep out of trouble: Do it first, do it yourself, and keep on doing it.
It's one of the three films credited with the beginning of the true gangster films along with Little Caesar and The Public Enemy. Over 60 gangster films were released between 1930 to 1932 and yet these are the three that are remembered as the ones that started it all.
Scarface was apparently the most controversial and violent gangster film to come out at the time and would remain so for years as the stricter Hays Code was beginning to be enforced. The film is violent and raw. It's filled…
One of the most violent movies ever made. Every other scene is someone getting shot.
There are some very clever moments, however. The secretary character is what the Coens dream of, and the opening camera shot is ages ahead of its time.
This movie doesn't just use violence as a gimmick; it's a genuinely good film, even 81 years after it was made.
This review is an indictment of the motion picture SCARFFACE (1932) and of the callous indifference of the government to this constantly increasing menace to our safety and our liberty.
That is my little play on the opening title card from the movie SCARFACE. It’s a movie that may be the grandfather of American gangster pictures. It at least concreated the “gutter-to-penthouse” formula that still frames most of the organized crime movies to this day.
I was surprised at the lack of music and background noise in this movie. The film felt so modern other than the soundtrack. Of course the language and styles were different, but thematically, this movie would fit right into today’s cinematic culture. I was also…
yea DePalma's is better tbh
After 'The Aviator', I vowed to watch a few of infamous director Howard Hawks's films. First up, the original 'Scarface'. A film that was far more controversial than it's more recent remake, as 1932 went into overdrive testing the resolve of the film censors.
Scarface it brutal and uncompromising. The nonchalance of Tony leaving the scene of the first murder is proof enough that he has a lack of care, he doesn't mind getting his hands dirty to get what he wants. The only problem is, he thinks he knows what he wants, but hasn't got a clue. The promises of rewards from The Boss fall on deaf ear to me, I am guessing 'You'll be walking around in silk…
I loved how Vince Barnett accidentally walked off the Marx Brothers' film set into Howard Hawks brilliant Scarface. Mind my words, it doesn't do the film any harm, this is still a very grimm and violent movie. I don't call in question the authenticity of the horror of some of these events. Apparently Howard Hughes did his homework (or at Al Capone's home in this case perhaps). Definitely one of my favorite gangster films out there. I would have been pissed to hear this ever got a remake, but seeing how the 1983 version turned out (and me not being alive at the time) it's completely forgiven. Al Pacino love. Still prefer this one though. It might be an interesting…
"I guess Hawks hadn't yet realised that it's possible to make something political without banging the message over the viewer's heads repeatedly. It's moralising isn't much of a drawback though, since it's still a very well-paced and well-acted film. Among Mob films, Scarface, along with Little Caesar and The Public Enemy (both 1931), are the three films credited with introducing most of the genre's main tropes. All 3 classics are required viewing, but Scarface is by far the best of the bunch.
Ik kwam voor Scarface.
Ik kreeg W. Hessels.
Het was een goede avond.
So I've seen the remake like a gazillion times when I was young because I loved the violence. So, I did hear about this one a few years ago and I finally took my time to watch the original and it did not disappoint.
For its time it's cruel, raw and violent. Paul Muni is awesome as Tony Montana. I mean Tony Camonte! I was so stupid, I just realised at the end that he had a different surname! But Paul Muni is amazing to watch here. He just made me realise I might need to check out more of his shizzle. We have one of my all time favorites in Boris Karloff who I must say is a terrific…
This film feels shockingly modern.
But Who's Drinking the Beer?
The movie grinds to a halt midway through for a meeting of some concerned citizens. They're all sitting around, asking who can step up and do something about the crime problem in Chicago. However, none of them talk about what is, to me, the obvious issue--if people stop drinking illegal booze, there will be no percentage in running it. Not that I'm coming out in favour of Prohibition, mind; it was a failed experiment for a reason. The problem is seldom that simple. However, the reason the gangsters have money is that there are people out there buying the product. Lots of them. This is during Prohibition, and there are hundreds of saloons. No, I…
Still one of the greatest gangster pics I've ever seen.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…