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.
While Howard Hawks remains one of the great American directors, the true auteur of his BALL OF FIRE (1941, 111 min, 16mm) may be Billy Wilder, who co-authored the script with Charles Brackett. The comedy—about eight bookish professors who take in a nightclub singer to help co-write an encyclopedia entry on slang—is more rooted in caricature, Hawks’ greatest contributions to the genre (HIS GIRL FRIDAY, MONKEY BUSINESS), having more in common with the social satires Wilder would go on to direct (THE SEVEN YEAR ITCH, ONE TWO THREE, THE FORTUNE COOKIE). In retrospect, the premise seems especially personal for Wilder, who learned English while writing his first Hollywood assignment and took from the experience a lifelong fascination with American idioms.…
Scarface is an iconic film, altered by the Hayes Code, and a pioneering piece of cinema. The father, or rather, Godfather of the Gangster genre.
Paul Muni plays Tony Camonte as so stupid I'd doubt he could manage to tie his own shoe laces let alone take over the entire North side of Chicago.
Apparently Truffaut believed Hawks directed Muni to make him look and move like an ape and I can well believe it.
Hecht Hughes Howard Hawks Howard
This movie is insane. Makes Bonnie & Clyde look like Bugsy Malone. No wonder they started enforicing the production code.
I feel like every gangster movie I've ever seen was just taking one or two scenes from this as models for their entire plots.
This is another film I have seen before but the last viewing was before I had joined this site. I rewatched some of the classic gangster films on Wednesday night (you can look through my profile to see the reviews I've already done of Little Caesar and The Public Enemy; I do like both movies) and I continued that trend by watching this for the first time since I joined this site over 2 years ago.
If you're only familiar with the famed 1983 Brian DePalma remake starring Al Pacino as Tony Montana, you may be surprised to hear that it has quite a bit in common with the original. Here, a foreign immigrant with an accent (here, Tony Camonte,…
Thrilling, adventurous and blazing with gunfire, the original Scarface is a sight to behold. While it's not as deep nor as iconic as its younger reincarnation, this, helmed by Howard Hawks has elements that have been passed on to Brian De Palma's, that made it the essential viewing it became.
Paul Muni is absolutely monstrous, and yet charming in an ugly way, as he takes on a journey through the streets of 1920's Chicago. His portrayal of Antonio Camonte is a real delight, and he brings life to the screen, especially when he's surrounded by mostly feeble talent, with the exception of Osgood Perkins, Boris Karloff and George Raft.
The film has a certain flair and feeling of noir makes it stand out, both stylish and loose that only a film from the 30's can produce.
"There's only one thing that gets orders and gives orders and this is it. That's how I got the south side for you, and that's how I'm gonna get the north side for you. It's a typewriter. I'm gonna write my name all over this town with it, in big letters!"
Damn. I don't know what I really expected from Howard Hawks' Scarface, but it wasn't that. I've seen the 1983 remake a number of times, but never saw the original until now. I knew that DePalma's version was a remake when I initially saw it, but I guess I always assumed that it was one of those films that's remade in name only and didn't really resemble the original,…
A really good movie that would be great with a better star. I hate Paul Muni. He's all about accents and funny wigs ... a truly terrible actor. He sits at the center of this magnificent little gangster film and almost ruins it for me.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…