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 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
When Tony gives Gina the present in his mother's house, Gina has very long, manicured nails. In a close-up, Gina touches the locket, revealing trimmed fingernails (clearly someone else's). 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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In the opening we see a crawl text (with narrator) that reads: "In May of 1980, Fidel Castro in an effort to normalize relations with the Carter Administration opened the harbor at Mariel, Cuba with the apparent intention of letting some of his people join their relatives in the United States. Within seventy-two hours, 3,000 U.S. boats were headed for Cuba. In the next few weeks, it became evident that Castro was forcing the boat owners to carry back with them not only their relatives but the dregs of his jail population. By the time the port was closed 125,000 'Marielitos' had landed in Florida. An estimated 25,000 had criminal records. This is the story of that minority those they call 'Los Bandidos'." 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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