All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
The rise and fall of a power hungry mobster.
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.
"I'll tell you what to do. Make laws and see that they're obeyed, if we have to have martial law to do it! ~ Mr. Garston
Back when Howard Hughes was making movies, he was also making political statements. This particular film was his indictment of government institutions turning a blind eye to organized crime during Prohibition. He believed lawmakers were spending too much time trying to regulate business and industry and not enough keeping the public safe from gang violence.
Based upon the novel by Armitage Trail, much of the story mirrors headline news, from drive-by shootings with tommy guns to the St. Valentine's Day Massacre. Audiences of the day would have easily understood that the loose cannon Antonio…
The gangster classic, with Paul Muni as the dangerous hood with the scar on his cheek, and dark, huge-eyed Ann Dvorak as his sister. The writer, Ben Hecht, and the director, Howard Hawks, said that they wrote the story by treating the Capone family "as if they were the Borgias set down in Chicago." Overall, it's a terrific movie, even though the pacing doesn't always seem quite right. The opening sequence is a beauty: the camera moves from a street lamp with stylized skyscrapers in the background and follows a milkman into a speakeasy, where we see the remnants of a gangland New Year's Eve party and finally pick up the shadow of Scarface, who kills the gangland leader. The…
Será que o De Palma achava que iriam legalizar a cocaína? rs
This movie was hella more like it.
The sheer brutality of Paul Muni's Tony Camonte was only matched by the sheer rawness of what Hawks and Hughes dared to showcase as city life. The performance of the sister was especially effective, given how she turns into a stone cold ice queen in the climax, ready to gun down her own brother because he finally crossed a line in their relationship. Gold. Sheer crime gold! Plus, Boris Karloff, Limey Gangster.
Seek this piece out. You shan't regret it.
Totally iconic. What an impact this must have had on audiences back in 1932. Every person that dies has a big X appearing in the frame with him. A masterpiece of writing and cinematography.
Crime, guns, girls, cops and robbers - the perfect 1930s gangster movie. Paul Muni gives an entertaining performance as the titular character (even though nobody ever calls him "Scarface"). His charisma is enough to fill two movies. And all the supporting cast is excellent as well. I enjoyed the little comedic touches too, like the dim witted sidekick who can't seem to ever take a phone message. I enjoy the DePalma/Pacino remake, but this one blows it out of the water.
Ora che l'ho visto, mi sembra più imprescindibile di prima anche solo per il fatto che dimostra l'enorme talento di Howard Hawks. È pieno di idee visive che hanno fatto scuola e sono diventate la base del linguaggio cinematografico. Ovviamente alcune cose le copia pari pari da Fritz Lang, ottenendo un risultato che sarà pure funzionale al racconto ma è cento volte meno potente. Altre cose però se le inventa lui, quindi bravo.
and another one
Oh... C'est encore meilleur que je le pensais.
Il y a une scène en plein milieu du film (vraiment, à la 45ème minute), où Paul Muni, avec sa voix de p'tit criss, défie son patron. Il obsède sur sa première mitraillette, il l'a caresse, puis alors que le patron le sermonne, son jeu change totalement, il devient rugueux, âpre, sans pitié, et là on tombe pour de bon dans la folie du criminel qui détruit tout autour de lui. Pendant ce temps-là Hawks a le brio de tout capter sans coupe, d'un simple travelling avant, lent, très lent.
Tout était léger, c'étaient des gangsters qui jouaient les durs à cuire, puis en un plan tout se renverse totalement, et pour de bon.