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Howard Hawks's Scarface was one of the first "talkies" to reclaim the fluidity of the late-silent masterpieces, while also tapping into a feral new energy that came with talking smart and moving smarter on the motion picture screen. Outgunning such contemporaries as Little Caesar and The Public Enemy--in terms of both its ferocious death-dealing and dynamic style--the movie was interfered with by censors and kept out of circulation for decades thanks to its eccentric producer, Howard Hughes. It remains the gold standard among classic gangster pictures. Paul Muni's portrayal of Al Capone surrogate Tony Camonte etched a screen original: a merciless assassin who's not only reflexively criminal but pre-civilized, almost pre-evolutionary, a simian shadow ready to rub out the world if he can't have it for his own. This is still one of the greatest, darkest, most deeply exciting films American cinema has produced. Those demonically ubiquitous X's--starting with that titular scar gouged into Tony's cheek--rival "Rosebud" for resonance. --Richard T. Jameson
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Most helpful customer reviews
5.0 out of 5 stars
very potent (anti)gangster film,
By
This review is from: Scarface (DVD)
this 1932 Gangster film is probably the Granddaddy of all Gangster film.but it really isn't a Gangster picture.it doesn't glorify organized crime/the mafia at all.in fact,it takes the opposite view.sometimes it's as if you're watching a public service announcement or a political campaign to rid the the city/state/country of the mob.it's as if the actors are actually speaking directly to the audience.and maybe they were.regardless,there's no question how powerful the movie is,and how much influence it has had on all films of the genre.the acting is first rate here.Paul Muni is mesmerizing as Antonio 'Tony' Camonte,the main character.but Anne Dvorak as Francesca 'Cesca' Camonte is also brilliant.of the three big films of this genre that came out around the same time(The Public Enemy starring James Cagney,(1931)and Little Caesar,Starring Edward G.Robinson(1931),in my mind this is by far the most powerful and influential.for me,Scarface(1932)is a 5/5
5.0 out of 5 stars
LOOK OUT I'M GONNA SPIT!!!!!,
By
This review is from: Scarface (VHS Tape)
i find it amazing to think of all of those scarface fans out there that haven't heard of or haven't seen the original. i know it's hard to get but if you can track it down watch this movie you will be glad you did.seeing the 1983 version first, the 1932 version seems condensed but it carries the same weight and the same great storyline.it is a film that definitely stands out from other films of that time period and a film that needs to be respected because it IS the original and it spawned the greatest movie of all time. A MUST SEE!!
5.0 out of 5 stars
Shame of the Nation,
By Noctem (PRK) - See all my reviews
This review is from: Scarface (VHS Tape)
Scarface. No, not the one with Al Pacino. This is the one from 1932. And it happens to be one of the most potent crime films ever made, as well as one of the most pioneering -- and most undervalued. As the gangster craze swept Hollywood, Howard Hawks, one of the most ground breaking yet unheralded directors in the history of film, forged Scarface in 1930, but because of its commitment to realism (that means lot's of killing), it was delayed for two years by the Production Code of Ethics. When it was finally released, the damage was done: it bombed, and this awesome, scary film would ultimately fall into obscurity. Amazing. The script was based on the 1930 novel by Armitage Trail, which was ultimately inspired by the exploits of Chicago's crimelord, the one and only Al Capone. Sadly, little of the original novel was kept except for the title. However, it must be said that the Big Man loved the film. Paul Muni plays the title role to perfection. His very presense is a threat. Tony Camonte (Muni) is brutal, arrogant, stupid, and, dare I say, ape-like. He is a killer who revels in gaudy clothes and fast cars. But Tony is also insanely jealous of his slinky sister (Ann Dvorak), to the point where his feelings toward her are obliquely incestuous. Sick of working for middle level gangsters, Tony sets out to make a name for himself written in the (unseen!) blood of his enemies (including rival gangster, Boris Karloff!). Tony's boss Johnny Lovo (Osgood Perkins) not only has the power that Tony desires....but also the woman he wants, Poppy (Karen Morley). Among the film's inventiveness, a visual X motif appears throughout to signal that a murder is imminent. The X symbol takes such prolific forms as shadows, gown straps, wooden cross-beams, a facial scar, and a strike symbol on a bowling score sheet. Awesome. Indeed, the film works on the subconscious mind, rather than throwing the violence in your face. This was taken to a new level by Hitchcock......but it all began here. The original Scarface. Now, the 1983 remake by Brian De Palma has its own value: Al Pacino's Tony Montana became the modern, archetypal crime boss; but the film is way too long, with many scenes bordering on campy. In the end, one can only hope the original Scarface get's the DVD treatment it deserves.
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