IMDb > Scarface (1932)
Scarface
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Scarface (1932) More at IMDbPro »


Overview

User Rating:
7.8/10   16,783 votes »
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Directors:
Writers:
Armitage Trail (novel)
Ben Hecht (screen story)
(more)
Contact:
View company contact information for Scarface on IMDbPro.
Release Date:
9 April 1932 (USA) See more »
Plot:
An ambitious and near insanely violent gangster climbs the ladder of success in the mob, but his weaknesses prove to be his downfall. Full summary » | Full synopsis »
Plot Keywords:
Awards:
2 wins See more »
NewsDesk:
(16 articles)
Watch ‘Pre-Code’ Hollywood films on TCM all month
 (From SoundOnSight. 3 September 2014, 8:24 PM, PDT)

Pre-Code Classics Coming to TCM
 (From Thompson on Hollywood. 2 September 2014, 3:54 PM, PDT)

Pre-Code Hollywood: Gangsters, Monsters, and Dames
 (From CinemaNerdz. 31 January 2014, 7:20 AM, PST)

User Reviews:
Preferred far more than the remake; Hawks, Hecht, and Muni are first-rate here See more (268 total) »

Cast

  (in credits order) (verified as complete)

Paul Muni ... Tony

Ann Dvorak ... Cesca
Karen Morley ... Poppy
Osgood Perkins ... Johnny Lovo
C. Henry Gordon ... Inspector Guarino

George Raft ... Rinaldo
Vince Barnett ... Angelo

Boris Karloff ... Tom Gaffney
Purnell Pratt ... Publisher
Tully Marshall ... Managing Editor
Inez Palange ... Tony's Mother

Edwin Maxwell ... Detective Chief
rest of cast listed alphabetically:
Henry Armetta ... Pietro - Barber (uncredited)
Gus Arnheim ... Orchestra Leader (uncredited)
Eugenie Besserer ... Citizens Committee Member (uncredited)
Maurice Black ... Jim - Headwaiter (uncredited)
William Burress ... Judge (alternate ending) (uncredited)

Gino Corrado ... Waiter at Columbia Cafe (uncredited)
Virginia Dabney ... Mabel (uncredited)
William B. Davidson ... Citizens Committee Member (uncredited)
James Durkin ... Newspaper Man (uncredited)
Eddie Fetherston ... Reporter (uncredited)

Paul Fix ... Hood with Gaffney (uncredited)
Francis Ford ... Prison Guard (alternate ending) (uncredited)
Gus Arnheim and His Orchestra ... Paradise Club Orchestra (uncredited)

Jean Harlow ... Blonde at Paradise Club - Cameo appearance in nightclub (uncredited)

Howard Hawks ... Man on Bed (uncredited)
Brandon Hurst ... Citizens Committee Member (uncredited)
John Kelly ... One of Costillo's Hoods (uncredited)
Hank Mann ... Stag Party Janitor (uncredited)
Dennis O'Keefe ... Night Club Patron (uncredited)
Jack Perry ... One of Costillo's Hoods (uncredited)
Pedro Regas ... Tony - Bodyguard (uncredited)
Warner Richmond ... Cesca's Dance Partner (uncredited)
Constantine Romanoff ... Henchman (uncredited)
Bert Starkey ... Epstein - Lawyer (uncredited)
Charles Sullivan ... One of Costillo's Hoods (uncredited)
Harry Tenbrook ... One of Costillo's Hoods (uncredited)
Helen C. Thompson ... Sadie Thompson (uncredited)
Nick Thompson ... One of Costillo's Hoods (uncredited)
Ellinor Vanderveer ... Theatregoer (uncredited)
Harry J. Vejar ... Big Louis Costillo (uncredited)
Douglas Walton ... Cesca's Boyfriend (uncredited)

Directed by
Howard Hawks 
Richard Rosson (co-director)
 
Writing credits
Armitage Trail (novel "Scarface")

Ben Hecht (screen story)

Seton I. Miller (continuity) &
John Lee Mahin (continuity) &
W.R. Burnett (continuity)

Seton I. Miller (dialogue) &
John Lee Mahin (dialogue) &
W.R. Burnett (dialogue)

Howard Hawks  uncredited
Fred Pasley  adaptation (uncredited)

Produced by
Howard Hawks .... producer (uncredited)
Howard Hughes .... producer (uncredited)
 
Original Music by
Adolph Tandler (uncredited)
 
Cinematography by
Lee Garmes 
L. William O'Connell  (as L.W. O'Connell)
 
Film Editing by
Edward Curtiss 
Lewis Milestone (uncredited)
 
Set Decoration by
Harry Oliver (settings)
 
Production Management
Charles Stallings .... production manager
 
Sound Department
William Snyder .... sound engineer
 
Visual Effects by
Howard A. Anderson .... process photography (uncredited)
 
Stunts
Frances Miles .... stunt double: Ann Dvorak (uncredited)
 
Camera and Electrical Department
Charles Bohny .... assistant camera (uncredited)
Roy Clark .... camera operator (uncredited)
Warner Cruze .... assistant camera (uncredited)
Eugene Kornman .... still photographer (uncredited)
Warren Lynch .... camera operator (uncredited)
 
Editorial Department
Douglass Biggs .... editorial advisor
 
Music Department
Gus Arnheim .... musical director
Adolph Tandler .... musical director
 
Other crew
W.R. Burnett .... continuity
Howard Hughes .... presenter
John Lee Mahin .... continuity
Seton I. Miller .... continuity
E.B. Derr .... supervisor (uncredited)
Howard Hughes .... direction supervisor (uncredited)
Lincoln Quarberg .... general press representative (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
93 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Certification:
Australia:PG | Brazil:14 | Finland:K-16 (1998) | Germany:16 (DVD rating) | Netherlands:6 (DVD rating) | Norway:16 (1984) | Spain:13 | Sweden:15 | UK:A (original rating) | UK:15 (video rating) | USA:Passed (original rating) | USA:PG (re-release) | West Germany:16 (f)

Did You Know?

Trivia:
The "serious" play in which Tony is so interested is an adaptation of W. Somerset Maugham's "Sadie Thompson".See more »
Goofs:
Revealing mistakes: As Cesca enters the room to shoot Tony near the end of the film, the gun barrel is just a steel tube. This changes to a regular gun in subsequent shots.See more »
Quotes:
Francesca 'Cesca' Camonte:The police are here for you! It's all my fault, I shouldn't have come...
Tony Camonte:Your fault, my fault, who cares? So long as you're here.
See more »
Movie Connections:
Soundtrack:
Wreck of the Old 97See more »

FAQ

This FAQ is empty. Add the first question.
64 out of 81 people found the following review useful.
Preferred far more than the remake; Hawks, Hecht, and Muni are first-rate here, 22 January 2005
Author: MisterWhiplash from United States

In an attempt to try and snap some sense into the public and the government about the crime wave (mostly in due to Al Capone, who was a major inspiration for Tony Camonte), Howard Hughes and Howard Hawks brought to the screen one of the landmark early gangster pictures. It's a film that does take its subject seriously (while on one hand one argues that the film is an indictment of crime and peoples responses, one could also argue that it's a subtle indictment of the prohibition), however it's also an exciting, and sometimes wickedly funny, take on a genre that would flourish in the thirties and forties. What comes most surprising (and I mean that as a big compliment) is how it hasn't lost much of its vitality in seventy years. The implied violence in the film is, in fact, shocking in places, and while it lacks the blood content and major shocks of the De Palma remake, it doesn't compromise to showing the (slightly Hollywood-ized) truth of the matter- crime doesn't pay, but sometimes it's all people know.

Tony Camonte is played by Paul Muni, in a performance that wonderfully ranges from angry to sarcastic, funny to romantic, and just down-right crazy; it's no wonder that Pacino was inspired by his performance to take on Tony Montana in the remake (though one could argue that Muni's bravura presence and delivery in this film out-ranks Pacino's in the later). He is surrounded by supporting players that also give very good work as well, with the story being told in various threads that work perfectly. There's one semi-comic story around one of Camonte's assistants who is rather illiterate and slow (though it's also a subtle commentary on the lack of prospects for immigrants at the time). Another (which was given much prominence in the remake) involves the power-struggle between Tony and his younger sister. And then there's the good-old mixture of solid, fascinating bits with the cops and other criminals, not to mention a boss that has to control Tony's manic ideals of taking over the city (and, perhaps, the world).

I once heard Quentin Tarantino in an interview say that Howard Hawks is the 'single greatest storyteller in the history of cinema'. Although that could be a heavily debatable statement, with this film Hawks proves that he definitely can do so very well, and of the few I've seen of his so far, this is my favorite. On the technical side of things, some of the technique is very straight-forward, but then there is also proof that Hawks was a step-ahead of the crowd that would bloom out in the film-noir period a decade later. Shadows used with a fine flair; great over-head and dead-on shots of cars riding and shooting; a couple of really keen close-ups. Add to that a script from Hecht that doesn't go too deep into character for too long, and you got your basic powerhouse gangster picture. And, believe me, it's a must-see if you're into the genre, or if you'd like to have a comparison test with the highly revered remake.

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Message Boards

Discuss this movie with other users on IMDb message board for Scarface (1932)
Recent Posts (updated daily)User
Sister? jo_B1
the remake is obviously 'better'... nakuk
Accents danashley
witch scarface... frankcostelo
So according to the censors of the day this 'glorified gangsters' FilmKoala
was this film unavailable for years in America? autosonic1
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