Introduction
Scarface, a three-hour film directed by Brian De Palma, was released in 1983. In no time, the film became a cult classic; it was distributed on video cassettes and remained popular in the 1990s. According to many critics, it is the best gangster action film in the history of world cinema.
The script is based on real events of the early eighties; much is taken from the legendary Howard Hawks film, shot back in the thirties. Even Fidel Castro, who slipped the “pig” to capitalist America, is involved. Under the guise of rendition of political pariahs, a massive batch of the dregs of society got into the United States, among whom was the main character.
Thousands of Cubans, released by Fidel Castro over the border, settled in the United States. In pursuit of the American dream, Tony Montana, a man with a dubious past whose face is marked by a deep scar, arrives here. He is inseparable from his sidekick, Manny (Stephen Bauer), and, with him, quickly becomes involved in the criminal life of Miami, his new home.
Application of the Genre Theory to the Film
Scarface is a film about the abrupt, unexpected rise and inevitable fall of an ambitious criminal mastermind. De Palma has turned the story of a criminal into a tragedy rooted in Tony Montana’s personality. This character is marked by a coldness and indifference to the world. His facial expressions and smiles make you shiver inside.
After arriving in America, Tony and his best friend decide not to put things off and commit the murder of a prominent politician. This tells us that he is not going to put up with an honest livelihood, for the sake of his dream, he is ready for anything, even murder. He shows himself as a ruthless, strong-willed leader of a criminal group. And his dream is simple yet complex; he wants to be number one in Miami’s criminal life. This is where his ascent through the corpses to the pinnacle of bloody glory begins.
General Overview of Artistic Means
From a technical standpoint, the shooting of Scarface was not particularly difficult. The main plot element is the elaborate dialogue, interspersed with occasional flashes of violence and the final beating at the Montana villa. However, this simplicity proved deceptive in terms of the resources expended.
Notably, the authenticity of the chosen sets and paraphernalia is particularly noteworthy. The external trappings and elaborate dialogues were essential to creating the genre identity. At the same time, the work did not include high-tech elements, revolutionary new transitions, and artistic means.
Sounds
The soundtrack of De Palma’s Scarface (1983) is strikingly different from that of Hawks’s Scarface (1932). The sound quality provided by De Palma underlines the central theme of the film – hedonism. His use of subwoofers and the soundtracks are distinctly different from those of his predecessors.
The deliberate use of synthetic drums and strings creates an atmosphere reminiscent of a ’70s nightclub, which can be jarring to the public’s ears. The music reflects Montana’s ultra-human world, absorbing power and addiction. The music takes the viewer inside Montana’s head and shows the party going on inside it; it is deliberately loud.
Means of Visual Expression
The film features long, tense scenes depicting violence and excesses in Montana’s life. In an interview with the editor of Scarface (1983), Bill Pankous said that the most essential tool he used in film as an editor was “the audience’s imagination” (Oldham, 1992, p. 182). The editors use thought-provoking suggestions that can evoke images in the viewer’s mind. In other words, implicit sequences help viewers to use their imagination.
Thus, in Scarface (1983), the editors attempted to portray a stylized version of violence but ultimately decided not to depict violence or its fragments. For example, in Scarface (1983), the hero’s state of mind is evidenced by his excessive desire to abuse cocaine. In addition, using Montana, De Palma creates his postmodern monster-criminal hybrid.
De Palma is known for his long, uncut shots, but Pankoff notes that such long shots were often cut, even when the audience was unaware of them. One of the uncut scenes in the film is that of the Colombian drug lord Montana killing Angel with a chainsaw. Angel is cut to pieces with a saw.
De Palma included this scene in the film because he felt it dramatized the violence. Instead, it is artistically and creatively developed and edited so that it has attracted the critic’s ire. Montana is chained to the bars in the bathhouse during the dismemberment. The editing of this particular scene was done so beautifully that it became one of the most memorable scenes in the film, despite the absence of explicit violence.
Lightning
The lighting techniques used in this scene are typical of the gangster genre—excellent lighting for the chainsaw scene. De Palma used two types of lighting. When the drug deal breaks down over the chainsaw murder, De Palma uses his three-beam light, presumably positioned in front, to illuminate the subject that the camera focuses on.
This light underscores the demonstration of horror and violence in the scene. The light makes Montana sweat when he sees how he beats his friend (Lehman & Luhr, 2018). The generation of fear and disgust is seen at the same time in the scene in which Montana is forced to witness the brutal death of his friend (Lehman & Luhr, 2018).
Additionally, De Palma makes extensive use of natural lighting, lampshades, chandeliers, and other forms of interior lighting. In the classic noir tradition, this lighting enhances the feeling of fear in the scene. The lighting in the film highlights the serious or sinister aspects of the gang’s life, as well as the horns. Using two light sources makes the characters more realistic, allowing the audience to perceive the scene more effectively.
Additionally, the use of bright and dark lights in the apartment scenes effectively conveyed the actors’ moods. This helped to make the scene graphic and serious. At the dance floor, the different colored rotating lights create an amusing scene. De Palma uses the proper lighting to convey the mood of the scene.
Scenes Composition
The film uses footage of a chase that makes the viewer feel part of the scene. Additionally, the use of black and white on the poster and at the beginning of the film highlights the film’s dichotomy. During the scene where the immigration officer questions Montana, he is asked many questions about his criminal past. Montana gives a negative answer to almost all the questions, and it is clear to the viewer from his smug face that he is not being truthful (Lehman & Luhr, 2018).
This scene is exciting because the camera pans Montana with an extensive plan, capturing him almost on the water’s edge. This allowed us to show Montana from the perspective of an immigration officer. Of particular importance is the scene depicting Montana sitting in the center of the room, surrounded by the immigration officers.
Film Title, Theme, and Social Issue
Considering the film outside the criminal context, we can see the filmmaker’s more general idea: the conflict between the individual and society. A person’s attempt to change his boundaries within society is fraught with the fact that society will destroy the upstart. It’s just that this is seen more clearly and obviously in a criminal environment.
The main character’s wealth brings misery to the world. Tony didn’t save hungry children or invest in politicians or charity. He lived for pleasure, thinking of himself as God among men.
The final scene is a bloodbath in which two dozen of Soso’s fighters are killed. Antonio has lost so much of his sanity that he cannot feel the pain of the bullets that are being plunged into his body. Before his eyes, his sister and all his friends died. Prehumous agony could only be stopped by the shot of a professional assassin who came to take his life.
The film’s moral is simple: you cannot build happiness on the woes of others. Drugs have always sown death and disaster. And all secret things are revealed. There is no perfect “roof” or almighty patrons; every criminal is waiting for reprisals or life imprisonment. Although the most bloodthirsty bastard is capable of noble deeds, he will not kill a child or a woman who happens to get in his way.
Conclusion
Brian De Palma’s Scarface (1983) differs sharply from its predecessors, Scarface (1932) and The Godfather (1972), to carve out its own distinct genre. The film is a gritty retelling of the Al Capone story, but with substantial changes throughout, which makes it enjoyable to watch. For example, in most gangster films, the main character, who eventually becomes the leader, is often of Italian descent, while Tony Montana is of Cuban descent.
Additionally, the criminal authority figures in gangster films often become criminals because they are the ones who have managed to survive in America. However, Montana turns into a criminal of his own volition. He wanted to become a criminal, and Vito Corleone, the actor’s father, was forced to turn to a life of crime.
De Palma employed various techniques to highlight the presence of crime in the film. For example, De Palma used slow motion to emphasize the bloody scenes. Additionally, the intensity of the colors in the shots suggests a violent tone in the film. However, repetitive tracking shots may be distracting (Watch Scarface 1983 HD Online, n.d).
The film’s social impact was immense, and hip-hop had a profound influence on its culture. The cultural impact of Scarface became apparent in the 1980s, when many rap singers started calling themselves carfaces. Tony Montana became a symbol of a community of non-white immigrants who considered themselves second-class citizens of the United States. Gangsta rap emerged in the 1980s and was heavily influenced by the villain in Scarface.
References
Watch Scarface 1983 HD online. (n.d.). Moviesjoy.to. Web.
Lehman, P., & Luhr, W. (2018). Thinking about movies: Watching, questioning, enjoying. Wiley Blackwell.