Scarface Critical Essay

Scarface Critical Essay-45
As the postwar period of the 1920s and the early 1930s emerged, there were a group of crime films that dared to be darker, bolder, and more accurate in depicting its characters and their environment in the Great Depression era.These films focused on the archetypal “rags to riches” story that showcased men who would finally take matters into their own hands, and venture into criminality in order to move up the social ladder.The image of the gangster is appealing because he challenges the myth of the middle-class work ethic, which demands long hours, sacrifice, and taking orders from superior in order to achieve financial and social success.

Coppola's Godfather worked on our emotions in unexpected ways discovering the loves and loyalties that operated within one old Mafia don's family.

Whereas Palma's Scarface is a relentlessly bitter, satirical tale of greed, in which all supposedly decent emotions are sent up for the possible ways in which they can be perverted.

It was a studio film and was eventually awarded R-rating, but only after De Palma cut a single close-up from the chainsaw sequence.

Director Brian De Palma, benefiting from fifty years of gangster films following 1932's Scarface, is aware of the conventions in which he is working and understands that Tony Montana, living in the 1980s, will be a different kind of gangster than his 1930s predecessor.

After a bad business deal and an argument over Elvira, Lopez attempts to have Tony killed. Elivira has progressively become a zombie-like drug addict, and Tony's money is not earning the interest it should be.

However, Tony eliminates Lopez, and becomes the most powerful drug lord in Florida. Pacino goes way over the top, and that pretty well describes the arc of his character and his performance.He's snorting coke hysterically and scaring everyone out of his life.Bored and impatient, he doesn't even notice how successful he's become. He's so messed up and complicated that it's hard to see him as just a character in a movie, and Pacino is so convincing that you almost forget that it's fiction.The supporting characters are superb as well, led by Bauer and Pfeiffer.They are flawless in their respective roles, representing Tony's defective support system, but Pfeiffer is especially spectacular as the callous Elvira.He also claim that Fidel Castro sent thousands and thousands of his convicts to America in 1980 to take revenge.I'm not sure that it's true, but I just think it's a pure Oliver Stone touch.Tony Montana (Al Pacino) is a small-time Cuban punk, one of supposedly hundreds among the 125,000 or so legitimate refugees that the Castro Government allowed to immigrate to Florida in the spring of 1980.He has hopes of claiming his own piece of the American Dream.In the book, Public Enemies, Public Heroes, author Jonathan Munby states: “Central to the appeal of these gangster films of the early 1930s were their candid dramatization of the contradictory nature of the ethnic urban working-class American experience” (20).There were three gangster films of the early 1930s that had a tremendous cultural impact in depicting the underworld and the working-class American experience; however, one film has stood out the most.

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