A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
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 Colombian 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
When Tony and the guys are following the white car outside the United Nations building to blow it up remotely, there are two beer cans and two food containers on the dashboard of their car. In the exterior shots of Tony and the guys in the car, the beer can closest to Tony is partially crumbled. But in the interior shots of Tony's point of view, the crumbled beer can is perfectly straight and not crumbed. The beer can is crumbled in the exterior shots and undamaged in the interior shots. See more »
...los que no se adapten... al esfuerzo y al heroísmo de una revolución... ¡No los queremos! ¡No los necesitamos!
[in subtitles: They are unwilling to adapt to the spirit of our revolution. We don't want them! We don't need them!]
[Translation word-for-word:... the ones that won't adapt... to the effort and heroism of a revolution... We don't want them! We don't need them!]
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We see a proverb at the beginning of the movie that says: "Enjoy yourself, every day above ground is a good day." ANONYMOUS, MIAMI 1981 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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