The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
When Keller Dover's daughter and her friend go missing, he takes matters into his own hands as the police pursue multiple leads and the pressure mounts. But just how far will this desperate father go to protect his family?
Tony Montana manages to leave Cuba during the Mariel exodus of 1980. He finds himself in a Florida refugee camp but his friend Manny has a way out for them: undertake a contract killing and arrangements will be made to get a green card. He's soon working for drug dealer Frank Lopez and shows his mettle when a deal with Columbian drug dealers goes bad. He also brings a new level of violence to Miami. Tony is protective of his younger sister but his mother knows what he does for a living and disowns him. Tony is impatient and wants it all however, including Frank's empire and his mistress Elvira Hancock. Once at the top however, Tony's outrageous actions make him a target and everything comes crumbling down. Written by
The word "yeyo" is used by Tony Montana (Al Pacino) as a slang word for cocaine. This word was not in the script, and was ad-libbed by Pacino during the first drug deal scene (chainsaw scene), and Brian De Palma liked it enough to keep using it throughout the film. Pacino learned the word while learning the Cuban accent. See more »
In the restaurant, glasses are knocked over and their contents spilled. In one subsequent shot they are shown upright and full again. See more »
...al esfuerzo y al heroísmo de una revolución... ¡No los queremos! ¡No los necesitamos!
[translated... to the effort and heroism of a revolution... We don't want them! We don't need them!]
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Dedicated to Howard Hawks and Ben Hecht See more »
If the movie has a flaw, it's that it comes at you like a raging bull. It doesn't so much engage the viewer as assault him. ''Scarface'' is as voracious and unyielding a production as Tony Montana himself. Nothing is left to the viewer's imagination.
Moroder's languorous synthpop fits the action to a tee. Like the chorus in a Greek tragedy, it wails and gnashes, broods and tugs, a constant reminder of Tony's inexorable fate.
Not so much a tale of caution as a disaster in progress, ''Scarface'' rips across the screen with the unstoppable force of a runaway train.
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