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Scarface (1932)

Passed | | Action, Crime, Drama | 9 April 1932 (USA)
An ambitious and near insanely violent gangster climbs the ladder of success in the mob, but his weaknesses prove to be his downfall.

Writers:

(novel), (screen story) | 6 more credits »
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2 wins. See more awards »
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Cast

Complete credited cast:
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Inspector Guarino
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Angelo
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Publisher
...
Managing Editor
Inez Palange ...
Tony's Mother
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Detective Chief
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Storyline

Johnny Lovo rises to the head of the bootlegging crime syndicate on the south side of Chicago following the murder of former head, Big Louis Costillo. Johnny contracted Big Louis' bodyguard, Tony Camonte, to make the hit on his boss. Tony becomes Johnny's second in command, and is not averse to killing anyone who gets in his and Johnny's way. As Tony is thinking bigger than Johnny and is not afraid of anyone or anything, Tony increasingly makes decisions on his own instead of following Johnny's orders, especially in not treading on the north side run by an Irish gang led by a man named O'Hara, of whom Johnny is afraid. Tony's murder spree increases, he taking out anyone who stands in his and Johnny's way of absolute control on the south side, and in Tony's view absolute control of the entire city. Tony's actions place an unspoken strain between Tony and Johnny to the point of the two knowing that they can't exist in their idealized world with the other. Tony's ultimate downfall may be... Written by Huggo

Plot Summary | Plot Synopsis

Plot Keywords:

police | mob | murder | gangster | mobster | See All (143) »


Certificate:

Passed | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

9 April 1932 (USA)  »

Also Known As:

Scarface, the Shame of the Nation  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

At one point, a list of prior offenses is read, including possession/use of brass knuckles and "saps". Saps, or sap gloves, are gloves with lead or steel granules sewn into the knuckles and backs of the hands. See more »

Goofs

The scene Tony pushes and punches the man who refuses to obey Johnny Lovo in First Ward Social Club, it's clearly seen that Tony actually punches the man's palm. See more »

Quotes

[Angelo is answering the phone for Tony]
Tony Camonte: Hey, hey. Get a name. Get a name.
Angelo: [speaking into telephone] What's your name? No, no, I no wanna know what's your brother's name, I wanna know what's your name.
[angrily]
Angelo: Oh, you do, huh? Listen, I come on over there, I smack you right in the teeth! I get you, you brother...
Tony Camonte: Hey! What's the matter? That's no way to talk. Talk nice. Tell him to state his business.
Angelo: Go state your business!
[hangs up phone]
See more »

Crazy Credits

"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 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? See more »

Connections

Referenced in Léon: The Professional (1994) See more »

Soundtracks

Wreck of the Old 97
Written by G. B. Grayson and Henry Whitter
[Sung by Ann Dvorak to George Raft]
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User Reviews

 
Muni, Robinson and Cagney
4 April 2006 | by (United States) – See all my reviews

Inevitably, Scarface will be compared with the near-contemporary gangster films, Little Caesar and Public Enemy, and Paul Muni with their stars Edward G. Robinson and James Cagney. What does it tell us about that era: that all three careers took off with portrayals of gang leaders? The three performances significantly differ. Robinson rises to the top by the use of a crafty intelligence as well as violence; Cagney by a type of shrewdness and personal charisma. Paul Muni's Tony Comonte is neither intelligent nor personable; his manners are crude; and at times he is almost childlike in his behavior: for instance, when he is enjoying a play and is interrupted after the second act, summoned to do another killing,and leaves a henchman behind, who can tell him later how it came out, then is delighted to hear that the "guy with the collar" didn't get the girl; rather, the rougher suitor. He can be described as cunning and animistic: a young wolf who eliminates any rival who stands in his way; finally the leader of the pack One can be moved by Robinson's last words, "Is this the end of Little Caesar?" or by Cagney's body falling through the open door of his family home, he having been killed off-screen. Comonte's death is that of a trapped or cornered animal, wordless in a beautifully staged sequence,as brutal as his life, depicted for the audience in every detail. Of the three portrayals, Muni's comes across to me as the most chilling, in its enactment of instinctive evil. How ironic that He would later win his greatest fame for his performances as Emile Zola and Louis Pasteur.


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