Success Through Excess

Rating: 8/10 (1 February 2011)

'Hey, Tonyremember when I told you when you first started working for me, the guys that last in this business, are the guys who fly straight. Low-key, quiet. But the guys who want it all, chicas, champagne, flash...they don't last.' Words of wisdom from one Robert Loggia in Brian De Palma's hard-hitting depiction of the violent crime that permeates from greed and power.
Our titular character (who, funnily enough, never refers to himself as Scarface throughout the film) is Tony Montana, a refugee from Cuba arriving in the United States in pursuit of the American dream. With the help of Frank Lopez and best buddy Manny Ribera, he climbs to the pinnacle of the cocaine industry, building an enviable empire that naturally leads to a lot of enemies.
For all the memorable roles he has had over his career, surely Tony Montana is the role for which the incomparable Al Pacino will be remembered for. The actor has reportedly stated that this character remains his undisputed favourite, and with good reason. Pacino's intense performance is one which was initially criticized for overacting, but it's important to gain an understanding of the character before jumping to such conclusions.
Montana is loud, full of hubris and as paranoid as he is ambitious. A more reserved performance would not accurately reflect these traits, which ultimately tell the tragic story of Scarface. Nominated for a Golden Globe back in 1984 on the back of this performance, Pacino brought the character to life, making Montana one of the most instantly-recognisable figures in film, and a character often imitated, but never duplicated.
If the cinematography of Scarface had to be a colour, it would be a deep blood red, and not just because of the extreme violence. The sharp, in-close camera-work and energetic soundtrack are typical staples of cheesy 1980s cinema, but they work wonders in this film. Combined with the brutal script by Oliver Stone (who himself was battling a cocaine addiction while working on the film), they contribute in visually assaulting the viewer right from the outset. Where other films engage the audience at some points then lay low in a couple of trough scenes, Scarface starts with the volume turned up to ten and never lets go of the dial, before somehow pushing it up to about twelve for the climax.
Despite this, the film never gets too excited for its own good. A couple of powerful scenes between Tony and sister Gina give weight to some people's arguments that he feels a romantic love for his relative, but more importantly, the interplay showcases De Palma's skills in fusing the emotional with the violent in creating a film whose images will be burnt in your mind long after the closing credits.
One problem I have with Scarface (which actually has nothing to do with the film itself) is the way some musical artists and, subsequently, members of the younger generation have misconstrued the film's true meaning over time. De Palma makes it very clear by the conclusion that Tony is no hero; he is a tragic figure plucked right out of Ancient Greece and placed in contemporary Miami for us all to judge and learn from.
In much the same way that Douglas's Gordon Gekko in 1987's Wall Street served as the inspiration for many people to quit their jobs in the pursuit of becoming ruthless players in the financial game, the message Montana has tried to convey has been swallowed up by the engaging nature of his character, which I suppose is the greatest testament to the overall quality of the film.
*There's nothing I love more than a bit of feedback, good or bad. So drop me a line on jnatsis@iprimus.com.au and let me know what you thought of my review.*