In the midst of trying to legitimize his business dealings in New York City and Italy in 1979, aging Mafia Don Michael Corleone seeks to avow for his sins, while taking his nephew Vincent Mancini under his wing.
A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
A tale of greed, deception, money, power, and murder occur between two best friends: a mafia enforcer and a casino executive, compete against each other over a gambling empire, and over a fast living and fast loving socialite.
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
During the scene where Tony and Elvira are sitting in the Cadillac at the car dealership, Al Pacino surreptitiously slips on the hat that Michelle Pfeiffer was wearing while she was looking away, which was not scripted. When she turns back and sees him wearing it, her amused reaction was genuine and to her credit, she stayed in character and ad-libbed a line. Brian De Palma decided to keep that unscripted exchange in the movie to show Elvira's gradual warming up to Montana. See more »
After Tony and Manny finish talking to Omar for the first time, and about to quit the cafe, a man in a tan shirt and white pants is using the telephone in a booth in front of the cafe. As they walk away the cafe owner asks where they're going, and Tony throws the apron at him and retires. The man is not in the telephone booth in the close up shots of the cafe owner. There is a cut back to a widescreen shot as they continue to walk away and the same man is back in the telephone booth. 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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SCARFACE is a fictional account of the activities of a small group of ruthless criminals. The characters do not represent the Cuban-American Community, and it would be erroneous and unfair to suggest that they do. The vast majority of Cuban-Americans have demonstrated a dedication, vitality, and enterprise that has enriched the American scene. See more »
ABC edited 32 minutes from this film for its 1987 network television premiere. See more »
In the tradition of the Godfather films, director Brian DePalma has brought Oliver Stone's creation Scarface to the big screen. It is the archetypal `rags to riches' story of a young Cuban refugee named Tony Montana. Al Pacino more than fulfils this role as he conveys the ruthless nature of Montana and likewise the ruthless nature of Miami's Cocaine underworld. Although Montana's ultimate position in life is morally wrong, he is a character with unequalled resolve. DePalma brings the audience not only into the inner recesses of Montana's world, but also the reality of the world that he has built.
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