‘Scarface’ or — Shamefully Joyous?
“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 our liberty. Every incident in this picture is the reproduction of an actual occurrence, and the purpose of this picture is to demand the government: ‘What are you going to do about it?’ The government is your government. What are YOU going to do about it?”
I’m going to sit back and enjoy the show, thank you very much.
Did audiences laugh when this disclaimer appeared as the movie ‘Scarface’ (1932), or ‘Scarface: The Shame of a Nation’, began? I was certainly laughing. I was also excited because this felt like we were all being both baited and let off the hook; if we needed to be told this before the film began then what the hell were we about to see? I can’t wait!
To be fair, I can understand the need for a warning (albeit one that makes the movie seem even more enticing) as ‘Scarface’ is PACKED with violence, murder, gun-fire, explosions, abuse, sex, swearing (“Take a flying f…!”), massacres and talk of “organ-grinding”. The screen is littered with ‘X’ marks and crosses (so this is where Scorsese got that idea for ‘The Departed’!) indicating death is about to make an appearance and so our skin will prickle in anticipation every time we see one by a person.
All except for Tony, Scarface himself, who seems adored with slashes and slits instead, possibly because he will be the one dishing out the killings. His face bears a slash but so does his hair in the form of an asymmetrical parting, as though even his mind carries a scar. At one point Tony has a sliced cut down the back of his jacket — even his soul is coming apart at the seams.
Not surprising as Tony is a thug who is determined to make his way in life, possibly by simply killing everyone in the entire city. He has an almost orgasmic reaction to violence — “Get outta my way, Johnny! I wanna spit!” — as the bullets spurt out of him with such power they even blow the dates of a calendar away (this film has nothing to do with “social responsibility” and everything to do with the thrill of irresponsible cinema). What a psycho!
Except Tony is also the ideal American. “The world is yours”, Tony’s inspirational motto, is also a summation of the American Dream and how nothing should stop in your way of reaching it. Hell, Tony even calls his boss “President” and with all the shirts he’s buying he’s also a good consumer.
When outraged members of society come together to demand action against this crime-wave one citizen demands martial law which, oddly, feels more distasteful (and fascist) than having Tony kicking about for the LOLS. Plus, Tony’s world seems fun, even with (let’s be honest — because of) all the bullets flying. Is that why I was laughing so hard when Tony’s secretary, Angelo, is trying to talk on the phone during a blazing gun-fight whilst also I wishing I was there joining in?
Indeed “blazing” might be the most succinct way to sum up ‘Scarface’ as the film doesn’t so much play out before our eyes as more explode in our faces. Like Tony himself, every frame is bursting at the seams with uncontainable and corrupted vitality. There’s a montage of gangland violence — drive-by shootings, bombings, etc — that’s as savagely aggressive in its presentation than any of the murderous acts on screen. It’s breathless stuff.
There’s also detail here, too. Those carefully placed ‘X’s are a thrill to spot and notice, and I loved it when Tony’s sister throws George Raft a coin for the organ-grinder only for Raft to deposit his own coin instead so he can keep hers as a keepsake, flipping her still warm memento over and over in his fingers. That’s sweet. I’m sure nothing bad will come of this romance.
Actually, that’s a slight difference I noticed between this and the Brian De Palma version, of which I’m a big fan. Tony’s relationship with his sister in the 32' version is still, shockingly, incestuous although whereas in the De Palma version it seems there to highlight how every aspect of Tony is warped and driven by a corrupt sexuality, in Hawks’ film it’s almost as though Tony is attempting to replace an absent, and obviously abusive, father figure. Is this why, during these moments, his Italian accent comes to the fore?
‘Scarface’ is absolutely phenomenal. It’s exciting, funny, incredibly well made, violent, stylish, provocative and brutal and I absolutely loved it. Although don’t take that opening text seriously in the slightest because if this is a warning against gang rule then why is this movie so deliriously ecstatic?
