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?
When Fidel Castro opens the harbor at Mariel, Cuba, he sends 125,000 Cuban refugees to reunite with their relatives in the United States. Among all the refugees, there is one who wants it all, his name is Tony Montana. Tony and his friend Manny arrive in the United States and start in small time jobs. Soon, they are hired by Omar Suarez to pay money to a group of Colombians. When the deal goes wrong, Tony and Manny leave with the money and succeed in their job. Soon Tony meets with drug kingpin Frank Lopez and falls for his boss's girl, Elvira. Pretty soon Tony will know that those who want it all, do not last forever; that is the price of power. The world will know Montana by one name....SCARFACE. Written by
Producer Martin Bregman, in the book 'Scarface Nation', revealed that Glenn Close was the original choice for the role of Elvira, but he was dissatisfied because he thought she would be "only half a hooker". See more »
The amount of bubbles in the bathtub Tony lies in diminishes as he talks to Manny and Elvira. But as soon as Manny leaves the room, the tub is suddenly full of fresh suds. 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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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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