Retrospective: Scarface (1983)
Dragan Antulov
A Film Review
Copyright Dragan Antulov 2004
Movies are often viewed as nothing more than entertainment, but
they serve many other purposes. One of the least appreciated is the
way in which they give insight into the past for future generations.
Almost any film, in one way or another, is a reflection of times when
they were made. Some of them are bound to become not only
reflections, but icons of certain age. The images, the characters, the
words - all that is forever associated with times long gone, although
such associations and film's importance were probably far from
filmmaker's minds. SCARFACE, 1983 crime epic directed by Brian de
Palma, is one of those films. Upon its original release, it was seen as
box office flop and almost universally panned by critics. But more
two decades later, it is known as the film that tells everything people
should know about 1980s.
The film was actually a remake of 1932 classic gangster drama,
inspired by the real life character of Al Capone whose story had filled
newspaper columns in early 1930s. The 1980s remake was also
inspired by real life events and it starts with infamous Mariel Boat
Lift. In 1980 Cuban leader Fidel Castro briefly opened port of Mariel
for Cuban Americans to pick their relatives and bring them to
Florida, but in exchange those Cuban Americans also had to carry
mental patients, homosexuals, convicted criminals and other
undesirables. One of those undesirables is Tony Montana (played by
Al Pacino), small-time criminal who sees America as a land of
endless opportunities. Before he can take those opportunities, he
must get out of detention centre. The way out is a little bit of dirty
work for Frank Lopez (played by Robert Loggia), wealthy and
influential Cuban refugee who is involved in thriving cocaine
smuggling business. Tony gradually earns Frank's trust and respect
and becomes one of the top lieutenants in his organisation. Chance
encounter with Frank's trophy girlfriend Elvira Hancock (played by
Michelle Pfeiffer) and Tony's own insatiable ambition would make
him turn against his boss and lead to bloody confrontation. The
outcome of that conflict leaves Tony with Elvira and at the helm of
Frank's cocaine empire. Once on top, Tony realises that keeping
wealth and power is much more difficult than attaining it, and that
the success can be man's worst enemy.
Even those who don't pay much attention to finer details would
almost immediately notice that SCARFACE belongs to 1980s.
Costumes worn by characters, production design of Miami
discotheques and Giorgio Moroder's pop music soundtrack are
unmistakable signs that this film was made many years ago. Another,
even more telling sign, are certain contents which are hard to find in
today's Hollywood films. SCARFACE, more than any other big
movies of its age, shows how censorship standards used to be more
lenient two decades ago than they are now. Of course, then, as it is
case now, sex was less offending than violence, and there is very little
nudity. On the other hand, few films had such incredible amount of
foul language and even more incredible amount of graphic violence.
SCARFACE features dozens of people being killed and litres of blood
being splattered on the screen, with some potentially disturbing
scenes featuring grimly innovative ways to kill human beings.
On the other hand, SCARFACE captures 1980s on much deeper level.
Many critics often tell of SCARFACE as the story of American
Dream. In 1980s American Dream was reduced to its raw,
materialistic essence - pursuit of happiness through material wealth
without any regard for antiquated notions of the past, including even
the most basic respect for other human beings. Deprived of any
ideological, ethic or legal checks, this materialism reveals itself as
egoism. The protagonist of SCARFACE is ultimate egoist - all his
actions are motivated solely with the desire to satisfy his needs, both
conscious and sub-conscious, and in doing so he would sacrifice
everyone around him. Even Tony's protective stance towards his
sister (subplot borrowed from 1932 version) in the end reveals as
nothing more than selfish incestuous lust. Ultra-materialism of the
times is symbolised by cocaine - the drug that works both as a status
symbol and source of pleasure. Unlike marijuana and heroin, which
were either symbols of anti-establishment rebellion of 1960s youth or
inner-city plight in 1970s, cocaine is the drug of the establishment.
People like Tony Montana can't exist without millions of wealthy,
influential and successful musicians, actors, lawyers, businessmen
and politicians who enjoy cocaine; neither they can work without
corrupt law enforcement and even more corrupt bankers that launder
their money. In the end, screenwriter Oliver Stone (who battled his
own cocaine addiction while writing SCARFACE) adds more
immediate political dimension - the same American government
which battles cocaine smuggling business is more than willing to
turn the blind eye towards certain Latin American generals and
politicians involved in it. Strong anti-Communist overtones,
especially in the first parts of the film, also reflect the prevailing
sentiments in 1980s Reagan's America.
Oliver Stone's script is very good and very perceptive, but it isn't
perfect. Too many times the action stops in order for protagonist to
express some of Stone's ideas through overlong and usually pointless
speeches. Those speeches, on the other hand, are nice opportunity for
Al Pacino to engage in some over-the-top acting, which is, on the
other hand, less severe than in his later roles. Role of Tony Montana
isn't one of better Pacino's roles, but it is one of the more legendary.
He showed that he can handle Cuban accent and Spanish language
very well, trying very hard and succeeding in an attempt to make
another great gangster role which would be different from Michael
Corleone in THE GODFATHER. Pacino handles this role like he was
born to it. It is De Palma who does him disservice by not handling
transition between cocky self-assured gangster in the first and coke-
snorting self-destructing ruin in the second part of the film. Other
actors are overshadowed by Pacino and, apart from Steven Bauer in
rather thankless role of Tony's best and most loyal friend, don't leave
much impression. Michelle Pfeiffer in one of her first major roles
lacks chemistry in scenes with Pacino and her goddess-like look
seems odd company for much more prosaic characters and situations.
Mary Elizabeth Mastrantonio is much more convincing, but even her
character is ruined by some sloppy writing in the final scenes in the
film.
The very finale scene of the film - surreally violent and bloody
shootout in ultra-luxurious mansion - comprises everything which is
the best and the worst of SCARFACE. Pacino's performance can be
viewed as over-the-top and energetic; bloodshed is both realistic and
ridiculous at the same time; the final image both is symbolic and
corny. But few would fail to see great directing skill of Brian De
Palma, who was fortunate to have talented John A. Alonzo as his
director of photography. Alonzo's talents were very useful in those
scenes in which expensive and flashy clothes, cars, houses and
beautiful women strike powerful contrast with the ultimately dark
subject and plot of the film (similar thing would serve producers of
MIAMI VICE very well).
In the end, SCARFACE is far from being perfect film or even among
the best made in its age. But, paradoxically, the very age in it was
made is captured by it more than in any other film. As time goes by,
films like SCARFACE only gain in their importance.
RATING: 7/10 (+++)
Review written on February 27th 2004
Dragan Antulov a.k.a. Drax
http://film.purger.com - Filmske recenzije na hrvatskom/Movie Reviews in
Croatian
http://www.ofcs.org - Online Films Critics Society
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X-RT-RatingText: 7/10