Scarface (DVD)

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TITLE : Scarface (1932 Version)

RATING: *****

CAST: Paul Muni, Ann Dvorak, George Raft, Boris Karloff, Karen Morley, Vince Barnett, Osgood Perkins, C. Henry Gordon, Purnell Pratt, Tully Marshall, Inez Palange, Edwin Maxell, Howard Hawks.

DIRECTOR: Howard Hawks

SCREENWRITERS: Ben Hecht, W. R. Burnett, Seton I. Miller & John Lee Mahin

BASED ON NOVEL: "Scarface" ...
.../> At only 93 minutes, SCARFACE moves along at a machine-gun pace, combining potent violence with a raw attitude; indeed, this was probably the most violent movie of the 1930s though, unlike the films of today, it is done without an ounce of blood. However, in this film they actually used REAL bullets while firing all the tommy guns, which gives the film a sharp edge of realism to it. In addition, unlike the 1983 remake and many other modern day ... more

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TITLE : Scarface (1932 Version)

RATING: *****

CAST: Paul Muni, Ann Dvorak, George Raft, Boris Karloff, Karen Morley, Vince Barnett, Osgood Perkins, C. Henry Gordon, Purnell Pratt, Tully Marshall, Inez Palange, Edwin Maxell, Howard Hawks.

DIRECTOR: Howard Hawks

SCREENWRITERS: Ben Hecht, W. R. Burnett, Seton I. Miller & John Lee Mahin

BASED ON NOVEL: "Scarface" by Armitage Trail; Fred Pasley (adaptation)

STUDIO: United Artists / Universal Pictures

RUNNING TIME: 93 min

RATED: PG (US) & 15 (UK); for machine-gun violence, implied sexual innuendo, and adult themes.

DVD AVAILABILITY: 5 GBP from Amazon; ASIN# B000BWOZBM

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INTRODUCTION: THE REAL-LIFE SCARFACE
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I would like to start of this review with a little history lesson for all of you, as the film I will be talking about is loosely based on a true story. The decade of the 1920s were known as the "Jazz Age" in America, though it was also the time of Prohibition; at the beginning of the decade, the consumption of alcohol was made illegal according to the 18th Amendment to the Constitution and the Volstead Act. As a result, it was up to gangsters to provide the public with alcohol, and soon gang wars became common. Sounds ridiculous to some today, and indeed it was, considering the fact it was restricting a basic freedom and even lawmakers were very well known to be consuming alcohol behind closing doors. As for the citizens, they had to enter "speakeasies" which were the clubs run by bootleggers to provide the customers with spirits. One of the most notorious bootleggers of the day was Al Capone, who was determined to control the entire liquor market in Chicago.

It was just after Prohibition began that Capone moved to the Windy City, and went to work for a bootlegger named James "Big Jim" Colosimo; in May of 1920, however, Colosimo was gunned down. Several years later, Capone took over the business, and soon he was raking in millions of dollars a year. The gangster had his eyes on expansion, though he had troubles with the North Side, who wanted to provide their own bootleggers for the speakeasies. As his reputation grew, he became a major target for not only the North Side, but also the authorities; it was in 1929 in which Capone would be strongly linked to the infamous St. Valentine's Day massacre, in which seven men were killed in a garage on the North Side. Still, Capone was admired (if not loved) by the public, and it is true that he did many things to help out the community---including opening up soup kitchens to the homeless after the stock market crashed and the Great Depression had begun. However, it was in 1930, in which Capone became known as "Public Enemy No. 1" by the justice department, and that led to Eliot Ness and his "untouchables" to nail him once and for all.

It was several months before Capone would be caught that producer Howard Hughes (yes, the AVIATOR himself!) wanted to make a film loosely based on Capone and his activities in the 1920s. First, he hired a former newspaper man named Ben Hecht to use a novel by Armitage Trail as a framework, and then incorporate Capone's story into it; during the writing process, word went out to the gangster's syndicate and several of its members approached Hecht to make sure everything would be kosher. Believe it or not, Hecht wasn't intimidated at all, and in fact he even convinced the Capone's gangsters to serve as film consultants!!! The result was SCARFACE, which was finished in 1930, though not released until two years later because of the heated censorship battles between Hughes and the Hays' Office of Film Decency. When the film was finally released in 1932, it became a word-of-mouth success…and reportedly, Al Capone loved it so much that he owned his own copy! You know, it stuns me every day that when people think of SCARFACE, they think of the 1983 remake (ah-ripoff-choo) starring Al Pacino and directed by Brian De Palma, especially when those who view it as gospel have no clue that is a remake. On that note, it's time for you all to say hello to MY little friend: Tony Camonte, the original Scarface!

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THE SHAME OF THE NATION
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"In this business, there is only one law you gotta follow to keep yourself out of trouble: Do it first, do it yourself, and keep on doing it!" --- Tony Camonte

The film opens up on 22nd street in Chicago, just after a local speakeasy has closed for the night; the place is owned by Big Louis Costillo (a cinematic version of Colosimo), a bootlegger who is unaware that his life will be cut short. We see a shadowy figure come up behind him who says "Hi Louis!" and then shoots him to death. While we are not sure who it is, though the man had an Italian accent, and it just so happens that Costillo had an Italian associate named Antonio 'Tony' Camonte (Paul Muni) that had recently left him to work for another bootlegger. When the local press eats up the story, they are convinced that a massive gang war will spring up, because Costillo was the last of the "old-fashioned" bootleggers and that a new breed will be taking over the city. Police inspector Ben Guarino (C. Henry Gordon) is convinced that the man responsible for the slaying is Tony Camonte, and he pays him a visit at a barber shop, where he is getting a shave with his best friend Guino Rinaldo (George Raft). Guarino demands that Camonte come downtown, and Tony responds by striking a match on Guarino's police badge.

While Tony is eventually run down to the police station, he continues to exhibit his disrespect with sarcasm and offensive candor; in the end, though, Tony provides a false alibi and is released. Realizing that he is now under suspicion, he decides to go to his new boss Johnny Lovo (Osgood Perkins) to get further instructions; during the meeting, a blonde enters the room and Camonte is transfixed. Lovo introduces his moll Poppy (Karen Morley), and while Tony is suave with her, Poppy responds by making a crack on his big facial scar. Anyway, Camonte has become Lovo's main man to expand the bootlegging activities, and he has only one rule: stay out of the North Side. However, Tony has a very ambitious nature, and not only does he start massacring the competition on the North Side, he also manages to snag a few dates with Poppy. Soon, he becomes the richest most dangerous gangster in the city, though he is having a difficult time keeping an eye on his flirtatious sister Cesca (Ann Dvorak), who he loves to death and doesn't want any men touching her---though she has already begun to get romantically involved with Guino.
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THE GRANDADDY OF GANGSTER FLICKS
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At only 93 minutes, SCARFACE moves along at a machine-gun pace, combining potent violence with a raw attitude; indeed, this was probably the most violent movie of the 1930s though, unlike the films of today, it is done without an ounce of blood. However, in this film they actually used REAL bullets while firing all the tommy guns, which gives the film a sharp edge of realism to it. In addition, unlike the 1983 remake and many other modern day gangster films, there are symbols employed throughout the film as well; for example, the letter "X" is used many times as a dark foreshadowing to fate of a character. My favorite sequence is the one set in the bowling alley, where a North Side rival named Gaffney has acquired a large shipment of machine guns to use to eliminate Camonte; instead, they are double-crossed, and Camonte and his gang ambush them while bowling (recall the X, referring here to strikes!). The one that doesn't get shot immediately is the bowler that's up; you see all the pins go down except one, then you hear more gunfire, and the last pin drops, suggesting the bowler finally got killed. Now that's genius!

Screenwriter Ben Hecht, along with several secondary writers, presents to us a bastardization of Archibald's novel, as well as an intriguing window into Prohibition gangsters by making Camonte a reflection of Al Capone. Hecht gives his characters intelligent dialogue, and even manages to inject some humor as well with the character of Angelo, Tony's secretary; the screenplay's greatest asset, however, is in the compelling character relationships, particularly between Camonte and the two women in his life: his sister Cesca and Poppy, the moll he stole from Johnny Lovo. While Warner Bros. was successful with gangster films with James Cagney, this is about as close to an accurate presentation of the Prohibition gangsters you could hope for; the period detail is just incredible, showing the and now long-gone speakeasy's and the sleazy side of Chicago in all its glory. Howard Hughes is known to have been a perfectionist, and he invested quite a bit of money into this project and it shows!

The film was directed by the legendary Howard Hawks, who would become one of the most honored directors of all time; he later did BRINGING UP BABY, THE BIG SLEEP, and GENTLEMAN PREFER BLONDES. Hawks' style is original and layered; his introduction to the title character is memorable, and the action sequences are expertly filmed. What distinguishes Hawks from other directors (i.e. De Palma) is that he doesn't linger on a set piece or plot point for too long, but keeps the story moving while the same time effectively developing the characters. This was the first "talkie" that he worked on (as silents had phased out by this time) and Hawks takes advantage of the film's brutal nature, employing some innovative sound effects and enhancing the fights/gun battles with a riveting freshness. Granted, these techniques are no longer new and groundbreaking, though they still serve the film well in this day and age; the intensity of certain scenes still shine through as well, particularly in the scenes with Camonte and Cesca, which I discuss a bit more later. Kudos should also be given to his editors Edward Curtiss and the uncredited Lewis Milestone (Oscar-winning director of ALL QUIET ON THE WESTERN FRONT) for maintaining a riveting note from start to finish that never lets up.

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WHA TEVER YOU DO, DON'T MAKE HIM SPIT!
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I wouldn't be surprised that those who worship the 1983 remake have a preconceived notion about the actor that played Scarface in the 1932 version; in other words, they might think, "Whoever he is, he is no Al Pacino!" Those who think like that are truly misjudging the underrated Paul Muni, who never was an A-list star, though he did win a Best Actor Oscar in 1935 for THE STORY OF LOUIS PASTEUR. However, 1932 was his best year, as he not only played Tony Camonte but also James Allen in the classic I AM A FUGITIVE FROM A CHAIN GANG---what a fabulous double bill these films would make! Some critics have noted that Muni occasionally goes over the top, but they also stipulate it is a powerhouse performance, combining believable menace with suggested insanity. He doesn't chew dialogue like Pacino does, but rather registers emotions while saying his lines, which brings out the character's arrogance and initiative, though also his human side as well. Muni's at his best in the climactic sequence in which he must realizes who he has become when he loses the one thing that really mattered to him, though he still is commands throughout the entire picture.

One of the finest character actors who ever lived, George Raft was a staple in many gangster films of the 30s, and excels here as Camonte's best friend who has the habit of constantly throwing a coin in the air. In fact, he would later make fun of that trait when he played the head gangster Spats Colombo in SOME LIKE IT HOT; while in Florida, he takes a coin that a guy is throwing in the air and says, "Where did you learn that cheap trick?" Osgood Perkins and C. Henry Gordon are solid as Johnny Lovo and Inspector Guariano, respectively. However, audiences will be treated to an early, non-horror performance by the celebrated Boris Karloff as Gaffney; he had become famous a year before playing FRANKENSTEIN and in the same year he played Imhotep in the original version of THE MUMMY, which I reviewed earlier this week.

While its true that the early years of Hollywood didn't offer strong, important roles for women due to sexism, the performances by the leading ladies in SCARFACE are really something to embrace as they hold their own remarkably well against their male co-stars. Karen Morley, who passed away in 2003 due to pneumonia, is just superb as Poppy, the moll who at first doesn't think much of Camonte at first, but does eventually become won over by his unusual charm (the character was played by Michelle Pfeiffer in the '83 remake); unfortunately, she was one of those actors whose career was shattered when she became blacklisted as a Communist. However, it was really the unknown Ann Dvorak who left a genuine impression on me the first time I saw the film; she plays Tony's sister Cesca with just the perfect amount of tenderness, warmth, fear, and sympathy; Dvorak is just irresistible, and it's a shame she never got the credit for her acting skills that she deserved. Plus, while I did think Mary Elizabeth Manstrantonio did an excellent job in the remake, Dvorak succeeded in making a tear come to my eye.

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THE "GLORIFICATION" OF GANGSTERS
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"This picture is an indictment of gang rule in America and of the callous indifference of the government to this constantly increasing menace to our safety and liberty. Every incident in this picture is the reproduction of an actual occurence, and the purpose of this picture is to demand of the government: 'What are you going to do about it?' The government is your government; what are YOU going to do about it?" --- Opening Prologue

Even before shooting began on SCARFACE in 1930, the Hays Office of American Censorship was determined to crack down on cinema indecency. To them, this film was the ultimate hot potato: a film that glorified gangsters and was brutally (and graphically) violent. As a result the release of the film was delayed for 2 years (!), and drastic changes and edits were demanded. Apparently, they thought that the film would be a bad influence on the public sphere, and inspire people to become gangsters themselves, idealizing the way of life that Tony Camonte and other characters had in the film. Howard Hughes wasn't a man that was willing to give in too easily, so he actually contributed more money to bring the film back in production for re-shoots. As a result, an alternate ending was filmed which showed a different fate for Tony Camonte; I will not reveal the differences in the endings, though I will state that it was entirely forced by the Hay's Code that Camonte receive "proper justice" for his illegal activities. In addition, while the film seems really rather tame today in terms of its violence, at the time it really pushed the envelope; at the end of the film, the death count was only about 30 people, which would make RAMBO look like DRIVING MISS DAISY.

By 1932, the Hay's Office still demanded certain things, but by that time Hughes and Hawks had had enough and decided to release the film uncut with the original ending in areas which did not have censorship laws. Still, the studio did insist on the opening prologue, saying that the filmmakers were not glorifying gangsters in any way, as well adding a subtitle to the title, making it SCARFACE: THE SHAME OF THE NATION. Probably the most important element that got softened in the final cut was the relationship between Tony and Cesca, which was strongly suggested to be incestuous!!! In the finished film, you can still see a slightly disturbing undercurrent in the scenes with Muni and Dvorak, and it makes sense when you consider Tony's jealousy in other men touching her sister; of course, they did strengthen it more in the remake. Thankfully, it did pay off in the end, as the film was a success for the most part, though it was short-lived, as the pressure from the Hay's Office got so great they were able to remove it permanently from theaters months later. The studio, United Artists, shelved the film and years later Universal would secure the rights and do a special re-release of SCARFACE in 1979; among those that attended the film were Brian de Palma and Al Pacino.

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THE ITALIAN GANGSTER BECOMES A COOBAN WEFOOGEE
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As many of you have guessed up until now, I'm not crazy about the 1983 remake directed by Brian de Palma; being a film purist, I just don't understand why it has gotten incredibly popular…so much that Pacino's Tony Montana has become an underdog hero! My whole contention has been if films were great in the first place, then why remake them? Seriously, why? The answer is simple: Hollywood has no more originality, and its all about making money. We have had plenty of shitty remakes in recent years, like THE MANCHURIAN CANDIDATE, PSYCHO, and 13 GHOSTS. Now, granted, I don't think that the remake of SCARFACE is a bad film, though it was really just an update with a 1980s makeover. Believe me when I say that I've seen both versions several times and have compared notes as to what has and has not been changed; the central storyline is pretty much exactly the same, to be honest. The major difference is that the 1983 version has been blown up to three hours for no apparent reason, and offers nothing new; as a result, I didn't find a reason to care. However, what offends me the most is the screenplay by Oliver Stone.

Here is my theory on what Stone did to approach writing the remake: he basically read Ben Hecht's original script, snorted some cocaine, changed the lead from a gangster of Italian descent to a Cuban refugee, changed the business from bootlegging to drug dealing, expanded each scene to twice its length, added a chainsaw massacre, threw in a couple buckets of blood, and, finally, gave the character of Tony Montana dialogue that seems to consist of a one-word vocabulary---and the word ISN'T fudge. Oh yeah, he also stole the motif of "The World is Yours" from the original and changed Camonte's "doing it" speech with this: "You gotta make the money first. Then when you get the money, you get the power. Then when you get the power, you get the woman." The first time I heard that line, I asked myself, "Who wrote this piece of shit anyway?" Now, even though he DID dedicate the script to Ben Hecht and Howard Hawks, I viewed it more as an insult than anything else. On top of all that, unlike Tony Camonte, I found Tony Montana to be a misogynist, uneducated a**hole (ironically just like Michelle Pfieffer calls him), and found no reason to sympathize with or care about him whatsoever.

Plus, while I admit that Al Pacino gave a good performance, his extreme Cooban accent made me snicker a number of times and, other times, I found him just plain unintelligible…though that may have been due to bad dubbing, I don't know. Among the good things I found with the remake was the score by Giorgio Moroder, the performances ranged from good to acceptable, and there were great moments…like the knockout finale which truly has some quotable lines. Still, in my book, the 1932 version is vastly superior, and it just makes me shake my head in disbelief that the 1983 version has become a pop-culture phenomenon, inspiring a legion of fans and even rap artists. (I'm not a fan of rap music anyway; if I really wanted to hear your bullshit "gangsta" pitch…I would have bought the CD my own homie self!) I'm not trying to upset anyone who loves the 83 version, but I'm just being honest about my disdain with it; if you disagree that's just fine!

So, in conclusion, I believe it's absolutely shameful that the 1932 original has been largely forgotten, particularly when the remake would never have existed if it wasn't for the original…and everyone who has tried to contest me on that has failed miserably. I've met several people who say they love both films equally and feel that one is not better than the other because of the different time periods; in other words, to them, the films "bookend" each other. I respect that, though I just personally think the 1983 version was unnecessary to begin with, because at the end of the day, it IS a remake and, personally, I don't think it even comes close to matching the power of the 1932 original, though that is just me. As far as availability is concerned, the film was only available before as part of a gift set with the 1983 version, but not separately (how messed up is that). As of 2005, the film was finally released by itself on DVD, and you can order it for 5 GBP from Amazon. Thank you for reading, and I hope I have succeeded in inspiring you all to see the granddaddy of all gangster films, the one and only original SCARFACE with Paul Muni. Take care! Chris :) 

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