Films are often viewed as nothing more than entertainment, but they serve many other purposes. One of the least appreciated is the way in which they give insight into the past for future generations. Almost any film, in one way or another, is a reflection of times when they were made. Some of them are bound to become not only reflections, but icons of certain age. The images, the characters, the words - all that is forever associated with times long gone, although such associations and film's importance were probably far from film maker's minds. *Scarface*, 1983 crime epic directed by Brian de Palma, is one of those films. Upon its original release, it was seen as box office flop and almost universally panned by critics. But more two decades later, it is known as the film that tells everything people should know about 1980s.
The film was actually a remake of 1932 classic gangster drama, inspired by the real life character of Al Capone whose story had filled newspaper columns in early 1930s. The 1980s remake was also inspired by real life events and it starts with infamous Mariel Boat Lift. In 1980 Cuban leader Fidel Castro briefly opened port of Mariel for Cuban Americans to pick their relatives and bring them to Florida, but in exchange those Cuban Americans also had to carry mental patients, homosexuals, convicted criminals and other undesirables. One of those undesirables is Tony Montana (played by Al Pacino), small-time criminal who sees America as a land of endless opportunities. Before he can take those opportunities, he must get out of detention centre. The way out is a little bit of dirty work for Frank Lopez (played by Robert Loggia), wealthy and influential Cuban refugee who is involved in thriving cocaine smuggling business. Tony gradually earns Frank's trust and respect and becomes one of the top lieutenants in his organisation. Chance encounter with Frank's trophy girlfriend Elvira Hancock (played by Michelle Pfeiffer) and Tony's own insatiable ambition would make him turn against his boss and lead to bloody confrontation. The outcome of that conflict leaves Tony with Elvira and at the helm of Frank's cocaine empire. Once on top, Tony realises that keeping wealth and power is much more difficult than attaining it, and that the success can be man's worst enemy.
Even those who don't pay much attention to finer details would almost immediately notice that *Scarface* belongs to 1980s. Costumes worn by characters, production design of Miami discotheques and Giorgio Moroder's pop music soundtrack are unmistakable signs that this film was made many years ago. Another, even more telling sign, are certain contents which are hard to find in today's Hollywood films. *Scarface*, more than any other big films of its age, shows how censorship standards used to be more lenient two decades ago than they are now. Of course, then, as it is case now, sex was less offending than violence, and there is very little nudity. On the other hand, few films had such incredible amount of foul language and even more incredible amount of graphic violence. *Scarface* features dozens of people being killed and litres of blood being splattered on the screen, with some potentially disturbing scenes featuring grimly innovative ways to kill human beings.
On the other hand, *Scarface* captures 1980s on much deeper level. Many critics often tell of *Scarface* as the story of American Dream. In 1980s American Dream was reduced to its raw, materialistic essence - pursuit of happiness through material wealth without any regard for antiquated notions of the past, including even the most basic respect for other human beings. Deprived of any ideological, ethic or legal checks, this materialism reveals itself as egoism. The protagonist of *Scarface* is ultimate egoist - all his actions are motivated solely with the desire to satisfy his needs, both conscious and sub-conscious, and in doing so he would sacrifice everyone around him. Even Tony's protective stance towards his sister (subplot borrowed from 1932 version) in the end reveals as nothing more than selfish incestuous lust. Ultra-materialism of the times is symbolised by cocaine - the drug that works both as a status symbol and source of pleasure. Unlike marijuana and heroin, which were either symbols of anti-establishment rebellion of 1960s youth or inner-city plight in 1970s, cocaine is the drug of the establishment. People like Tony Montana can't exist without millions of wealthy, influential and successful musicians, actors, lawyers, businessmen and politicians who enjoy cocaine; neither they can work without corrupt law enforcement and even more corrupt bankers that launder their money. In the end, screenwriter Oliver Stone (who battled his own cocaine addiction while writing *Scarface*) adds more immediate political dimension - the same American government which battles cocaine smuggling business is more than willing to turn the blind eye towards certain Latin American generals and politicians involved in it. Strong anti-Communist overtones, especially in the first parts of the film, also reflect the prevailing sentiments in 1980s Reagan's America.
Oliver Stone's script is very good and very perceptive, but it isn't perfect. Too many times the action stops in order for protagonist to express some of Stone's ideas through overlong and usually pointless speeches. Those speeches, on the other hand, are nice opportunity for Al Pacino to engage in some over-the-top acting, which is, on the other hand, less severe than in his later roles. Role of Tony Montana isn't one of better Pacino's roles, but it is one of the more legendary. He showed that he can handle Cuban accent and Spanish language very well, trying very hard and succeeding in an attempt to make another great gangster role which would be different from Michael Corleone in *The Godfather*. Pacino handles this role like he was born to it. It is De Palma who does him disservice by not handling transition between cocky self assured gangster in the first and coke-snorting self-destructing ruin in the second part of the film. Other actors are overshadowed by Pacino and, apart from Steven Bauer in rather thankless role of Tony's best and most loyal friend, don't leave much impression. Michelle Pfeiffer in one of her first major roles lacks chemistry in scenes with Pacino and her goddess-like look seems odd company for much more prosaic characters and situations. Mary Elizabeth Mastrantonio is much more convincing, but even her character is ruined by some sloppy writing in the final scenes in the film.
The very finale scene of the film - surreally violent and bloody shoot out in ultra-luxurious mansion - comprises everything which is the best and the worst of *Scarface*. Pacino's performance can be viewed as over-the-top and energetic; bloodshed is both realistic and ridiculous at the same time; the final image both is symbolic and corny. But few would fail to see great directing skill of Brian De Palma, who was fortunate to have talented John A. Alonzo as his director of photography. Alonzo's talents were very useful in those scenes in which expensive and flashy clothes, cars, houses and beautiful women strike powerful contrast with the ultimately dark subject and plot of the film (similar thing would serve producers of *Miami Vice* very well).
In the end, *Scarface* is far from being perfect film or even among the best made in its age. But, paradoxically, the very age in it was made is captured by it more than in any other film. As time goes by, films like *Scarface* only gain in their importance.
RATING: 7/10 (+++)
*(Note: The text in its original form was posted in Usenet newsgroup rec.arts.films.reviews on April 27th 1998)*
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