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.
Première mouture du film Scarface qui a clairement inspiré De Palma pour le fameux film culte. Tous les éléments y sont déjà présents : le fameux "the world is yours", voler la femme de son boss, la relation ambiguë avec sa sœur, ...
Par contre le personnage de Tony Camonte (très bon Paul Muni) est beaucoup plus inspiré d'Al Capone que Tony Montana (le massacre de la saint-valentin, ...). On retrouve également une critique sociale et politique des gangs américains même si cela reste très en surface (police impuissante).
Le film a très bien vieillit même si parfois c'est un peu difficile à suivre dans le phrasé/vocabulaire et le tempo des dialogues.
A voir pour se rendre compte qu'on ne réinvente jamais complètement la roue.
The 1932 original is great, but I think I still prefer the 1983 version, as the longer run-time allows for more character development.
Part 2 of my 12 Directors x 2 Unseen Films thingamajig.
Having never seen either of the Scarface pictures, I thought I would be doing myself a disservice if I didn't see the original first, so this evening I popped on Howard Hawks' seminal crime film. Playing less like a conventional plot and more like a loosely connected series of events that construct Tony Camonte's character, I was surprised at how well-paced this was, and how breezily it went by. The various killings and scenes of Tony being a complete asshole may seem to be going nowhere, but in actuality they all contribute to the weight of the final scene, where Paul Muni and Ann Dvorak really strut their acting…
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.