All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
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…
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…
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…
Had totally forgotten Boris Karloff shows up following an ear-shattering montage of drive-by killings. Paul Muni absolutely dwarfs every performance in the picture, it's no surprise that Frankenstein's monster gets shafted. Muni's Tony remains scarily contemporary. This particular low-life will always exist, adaptable to all forms of modernism. He engulfs the movie with a haze of timelessness and status as a classic.
"The World Is Yours"
The dream of immigrants, the illusion of America. A classic American tale of rise and fall in the mob. Paul Muni is a striking figure and gives a magnificently compelling turn as the embodiment of tough-guy bravado and brutish ambition. Howard Hawks conducts this tale brilliantly from the bravura opening long take in which Tony operates in darkness to the end in which he is finally brought out of the shadows. From Johnny Lovo to "Little Boy" Rinaldo, the supporting players all make a mark. The film is so concerned with not glamorizing these figures that it sometimes goes into the on-the-nose moralizing of the opening introduction. A classic of the gangster genre that still remains, remarkably, intense and gripping. 4.3/5
Very modern feeling for a film from 1932. It moved quickly and that little scene with the machine gun and the calendar dates flying off was inventive and communicated the passage of time + violence very economically.
I had no idea that De Palma's Scarface was such a remake. Beat for beat and many characters are essentially the same.
Produced by American business tycoon, investor, aviator, aerospace engineer, inventor, filmmaker and philanthropist Howard Hughes...whose role was played by Leonardo DiCaprio in Martin Scorsese's Aviator.
Al Pacino's legendary hit Scarface™ is a remake of this film.
and yeah Ranbir Kapoor sports in Bombay Velvet the same hairstyle as Tony from this film..I havent watched Bombay Velvet but I guess its a riped off from this original.
Phenomenal film...Filled with actions in almost every other sequence...!!
Iconic masterpiece..excellent :D
One of the earliest examples of a gangster film was the one to start it al; the godfather (badum tss) of mafia film clichés. It's all here: from the Italian background and jargon to the importance and protection of family and the tough guy attitude in the face of the law, all executed very finely by the great Howard Hawks. Paul Muni delivers a damn fine performance as Tony Camonte, with a fine mix of tactics and insanity. The only major downside to the film is Vince Barnett's character, whose main purpose is to put some comic relief in a film that really doesn't need it.
Nota = 5
This movie played off the typical noir conventions as expected. It's character enjoying the life of a big shot to his untimely misfortune. Though the killing scene were impactful to the story of how the character came to be, it was the only thing i truly enjoyed about the movie. I believe I came to that conclusion because of my love for the 1983 adaption of this film. Both were enjoyable but I'm from a different culture where dialog has because second best to action.
I went back and re-watched in order of release the original gangster trilogy: Little Caesar, The Public Enemy and Scarface. It is amazing how much you can see the influence of Little Caesar and The Public Enemy in Scarface. From Little Caesar, the filmmakers improve how a muscle man makes his way up the crime ladder; how a poor, uneducated gangster aspires to acquire culture and the expensive life style of the rich.
From The Public Enemy it takes the bootlegging dimension and ratchets up the violence associated with it. Some of the scenes where Camonte and his crew visit speakeasies buying beer from rival gang leaders take for granted that the viewer saw the Public Enemy. The final shooting…
Outstanding gangster flick from a relevant period. Its influence still carries over into today with modern gangster films that pertain to concerns of our time. It is a shame to see how much the Hays code influenced the end of the movie but still an appropriate end. The incestuous tones were a little much for me. Well paced and fun journey though
We watched this in class and I was very surprised that I stayed interested in it. Before we watched the movie we discussed the motifs and the meaning behind the X's and I don't think I would have caught onto them had we not discussed them.