Average Rating: 
Rating:  - Pacino, a National Treasure...
This 1980's version of SCARFACE is so compelling, that many viewers will be thinking of it for the rest of their lives. The story of a "Street-wise" Mariel Boat lift Cuban, X-prisoner, who is picked up by immigration in South Florida, and after some inner dealings in the holding facility, is released onto the streets of Miami. It documents the "rags-to-riches" story of Tony Montana, from flipping burgers, to obtaining international Drug-lord status; with virtually unlimited riches in his warchest, the key word being: war. Quite possibly, the best film ever made, it features a hypnotic performance by Robert Loggia, Steven Bauer, Michelle Pfiefer and of course, the 20th Centuries all-time best performance by Al Pacino as the Cuban, complete with heavy accent and haircut. The look of the film is "beautiful-eighties", complete with the Miami-pastel colored backdrop, and the music floating around at the right moments. Note: PAY CLOSE ATTENTION TO THE 3 MINUTE PERFORMANCE OF TONY'S MOTHER - It is so remarkable, you can almost see Pacino's admiration for this actress in his facial expressions on film!
Rating:  - Nothing Succeeds Like Excess
Given the high-power talent behind the camera (Brian DePalma), in front of it (Al Pacino), and at the typewriter (Oliver Stone), SCARFACE should have quite a lot going for it. It does indeed, although I can't quite call this a GODFATHER-type masterpiece for certain reasons.Ostensibly, this is a reworking of Howard Hawks' classic 1932 gangster pic about Al Capone. This time, the setting is Miami circa 1980, the contraband in question is cocaine, and the lead character, Pacino's Tony Montana, is a Cuban-born criminal who just came off the Mariel boat lift with 125,000 others that Castro let go, twenty percent of whom were known criminals. Pacino gets in on the ground floor with a local drug boss (Robert Loggia) and soon works his way to the top, doing just about everything to tick someone off--associates, enemies, cops, his wife (Michelle Pfeiffer), his sister (Mary Elizabeth Mastrantonio), and the Colombian drug kingpins he has to do business with. But in his cocaine-fueled journey to achieve the so-called American Dream, he neglects to follow two rules taught to him by Loggia: (1) Don't underestimate the other guy's greed; and (2) Don't get high on your own supply. He finally crosses the line in the end by alienating a Colombian drug boss (Paul Shenar) so much that Shenar sends assassins to Pacino's Miami villa. The result is a horrific and bloody shootout in which most of the assassins are rubbed out, and so is Pacino. Without a doubt, SCARFACE continues to generate wildly divergent opinions, both pro and con. I for one had some trouble trying to stomach Pacino's Cuban accent at first, but then his ultra-charistmatic performance kicked into high gear, four-letter words and all. The film is very true to its essentials of showing how a certain segment of the Cuban boat people, a very SMALL segment, tried to latch onto the American Dream by trafficking in illegal narcotics and thus earning millions. Probably the most interesting thing about SCARFACE is the political view that Stone espouses in his screenplay: he seems to espouse a very Reaganesque view of the world of the 1980s (virulent anti-Communism; anti-Castro), but in truth he is severely critical of those very same policies that motivated Castro to send the worst of his worst onto American soil and thus accelerate this nation's drug problem. SCARFACE does have its faults. It requires a lot of patience to sit through with a running time approaching 170 minutes, and I am not all that sure there is enough in there to sustain it for that kind of length. The film continues to be controversial in some quarters for its extreme (as opposed to merely excessive) violence; the chainsaw scene in an apartment, the hanging from a helicopter, and the ultra-gory shootout at the end rank as some of the most violent scenes ever shown on film. Only four other films in history challenge it in this respect: THE WILD BUNCH, SOLDIER BLUE, TAXI DRIVER, and SAVING PRIVATE RYAN. Finally, this film set a record for the greatest number of times the "F" word, or variations of it, are used; I lost count at two hundred. This IS a bit much, although it probably fits the reality of the situation it depicts. On the other hand, DePalma, whose 1976 film CARRIE remains one of the touchstone suspense/horror films of all times, does make quite a lot out of Stone's wild and crazy screenplay--though surprisingly, for the violent scenes, he doesn't use slow-motion or montage that much, which would have earned him favorable comparisons with the legendary Sam Peckinpah. Just as solid is the camera work of John Alonzo, who worked on CHINATOWN and BLACK SUNDAY, among others. Giorgio Moroder's score is pretty good, though I do admit it gets a little cheesy after a while. And Pacino's performance is also high-caliber; just get used to his Cuban accent, and it works very well. This film comes highly recommended, but with this warning: It is definitely NOT for younger audiences, it is rated 'R' for a lot of good reasons.
Rating: - A Gritty, Underworld Masterpiece.
"Scarface" is one of the greatest of all mob movies. It's an epic crime drama done with style and care. Brian DePalma presents a film that ignites the screen with a great screenplay by Oliver Stone and an amazing performance by Al Pacino. Unlike "The Godfather," which was more about family and relationships between father and son, "Scarface" is an exhilarating and intriguing journey into Miami's mob underworld, seen through the eyes of Tony Montana, a Cuban refugee with some of the greatest lines in movie history. The degree of excess here is brilliantly done and adds even more realism to a great work. DePalma shows a wonderful touch of style in the sets, costumes, cars, even in the violence. Look at the brilliant eye for composition he shows in a scene where an assassination attempt is carried out on Tony in a nigh club. The movie is full of that Latin style and intensity. The screeenplay By Oliver Stone is brilliant because it's complex in the way in which we are not just interested in the action, but characters and events as well. We really care about what happens with these people, least of all Tony. Pacino gives one of the greatest and most intense performances, always believable. He steals the show entirely through his accent and facial expressions. The action sequences aren't dim-witted, but smart and stylish. "Scarface" vibrates with style and realism like few gangster dramas have. It stands as a masterpiece. One of the greatest crime pictures of all time.
|
