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.
I've heard of the Scarface from the '80's, however, I never had an interest to see that movie, simply because it didn't stand out to me as a film i absolutely NEEDED to see. After watching the original in my class, I have decided that it may be something I would like to look into. I really enjoyed the plot of this movie and the added humor that was throughout was a nice touch. I especially liked how there was a balance of drama as well. I would definitely watch this over and over to see what small touches to the film I may have missed the first time.
I am not sure about this film not my style. I did however enjoy the costumes.
The movie was pretty good for a movie from 1932, but I still like the other scarface with Al Pacino better.
The witness was funny when he saw the dead body and left like oh hell no.
I actually really enjoyed this film. The lighting in was great. There were some really amazing shots in the film. To be honest I have never seen the more recent Scarface film so I couldn't compare them.
This was my first Scarface movie that I've seen and I was really surprised how well this movie was filmed. I remember watching these types of black and white movies with my mom, and this one kept my attention the entire time. This movie also reminds me of a game that I've played called "L.A. Noire" which takes place in 1947 in Los Angeles, where real american crimes happened and it was my job, (the police), to figure out who did it. These crimes were very fascinating and talked about what was happening in America and that's what the movie wanted to capture. It showed how powerful these gangsters were and how much they meant business. Along with the seriousness,…
The newspaper proclaims gang war after one murder. Who started it? The shooter or the press?
A sign outside the window says: The World Is Yours.
Tony says, "Look at all my stuff" as he and Poppy gaze at the pile of purchases on his bed. He has been busy shooting people, killing the competition. Then he pulls Poppy close and leans into her. Such a man.
Still more news glorifying the gangster. Is it glorification or is it necessary for the people to know? The government blames the media for the glorification and the media blames the government for being weak. The news calls for the government to institute martial law for the people must be controlled.
For the time I think it was a great movie and storyline. I loved the use of symbols and images to foreshadow deaths. The only thing that I didn't like was the way each and every scene faded in and out, it got annoying.
A punk becomes a mobster, shoots his way to the top, and takes a big fall. Savage gangster drama gets off to a creaky start, but gains tremendous power and complexity until it’s practically Shakespearean in scope. Some may have a problem with Muni’s performance—which is somewhere between opera and vaudeville—but few will remain unaffected by the film if they stick it out. The final shootout, with Muni and Dvorak (as Muni’s little sister) declaring their incestuous love for each other, is one of the most chilling scenes in cinema history. This is easily the best of the early 1930s gangster films, and an obvious influence on those that followed.
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.