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…
This might not be better than Brian De Palma's take on Scarface but this one is thirty years ahead of his time and proves, once again, that Howard Hawks is a marvelous director in every genre. Scarface is a non stopping film, every minute, every second, there's always something thrilling happening making it both entertaining and eccentric, filled with hundreds of shootouts and violent scenes with great set pieces, sharp dialogue with a few memorable lines, a great story and a nice performance by Paul Muni making it, for me, the greatest achievement of the decade.
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.
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.
A great gangster film. Paul Muni gives a fantastic performance, violent and ambitious, while also pretty layered.
The X mark design might be too obvious, but it is an interesting device to let the audiences know that who will be the next victim. And when it came to the sister of Tony's death, the lightening and the X mark built like a visual coffin for her.
There are no flashy camera moves, and it seems like most of the shot is pretty static. But this does not mean that this film is boring, not at all. Although the shot might be static, Hawks captures well movements within the frame, which creates a dynamic feeling.
The ideal of masculinity in this film is pretty interesting. Both the major female characters in this film, Poppy and Cesca, attracted to…
About 190,000 bullets fly through this iconic tale of a power-hungry gangster's rise and fall. Paul Muni is Tony Camonte, a charismatic tough guy who works his way up the fedora-laden gangland ladder. He isn't afraid of anybody, he speaks-a with a thick-a Italian accent, and he's suspiciously fixated on keeping his 18 year old sister (Ann Dvorak) chaste. Early in the film, he gets promoted from a mere strongarm to second-in-command in a big gang, but, of course, he's not gonna settle for that. He wants to be on top.
This film ran into trouble with the censors over its constant violence, as well as over concerns that it glorifies gangsters, with Tony seen living the high life in…
he can only get the girl once he's got the town
great opening shot
It had three great scenes and no bad ones.
Muni is just terrible. TERRIBLE. I realize the point is that he sort of thugs his way to the top, but there's nothing else there but a low brow. Otherwise, wow, it's really hard to find fault with this, with the usual adjustment for period, sensibility, etc. The female leads are beguiling, and Raft is great in his low-key way. Even the chief of detectives bites into his dialog with appreciable gusto. Karloff is also terrible, but it kind of works for the hapless third-string gangster who's done before he even knows it. And I would not have guessed that you'd find such inventive and vigorous camerawork this early, much less coming from Hawks, who I never thought of as a virtuoso in that way. Aces.
It's impressive how much of the plot of De Palma's iconic remake was already here in 1932. This is also the first racy pre-code film I've seen, and the depravity is impressive. That is to say, I don't believe for a second that "the purpose of this picture is to demand of the government: 'What are you going to do about it?'"
Postscript: I still prefer the remake, if for no other reason than that the villains that Tony bumps off on his trip to the top are so much more colorful and interesting in that one.
Despite the gangster movie clichés that have since been driven into the ground, and the Chico Marx guinea-isms, this is a powerful film, driven largely by the engine of Paul Muni's performance, and fueled by the twisted relationship with his sister Cesca (Ann Dvorak). George Raft is effective as Muni's right hand man, and Boris Karloff is a treat as rival gang leader Gaffney.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game