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.
Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. An unusual relationship forms as she becomes his protégée and learns the assassin's trade.
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
A majority of the film was shot in Los Angeles, California, standing in for Miami, Florida. This was done because production would have been endangered by protests from angry Cuban-Americans over the film's reported subject matter. Streets and buildings used for shooting were redressed by the art directors to have the "feel" of Miami. See more »
A bullet squib on one of Hector's goons' chest goes off, without a sound effect, just before a cut to Chi Chi, who shoots him. 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 »
When originally released in theaters the film featured an intermission which is absent from subsequent home video and theatrical releases. See more »
I find myself enjoying this film when I watch it. Well, perhaps enjoying is a bit of an odd verb when you think of the storyline, its characters, the amount of violence and of course, the f-bomb being dropped about 15,000 times.
I like Pacino in this film. He shows us the violent anger we didn't see in Michael Corleone. We're Michael would say, "Never hate your enemies, it clouds your judgement," Tony Montana's out killing everybody. Now granted, there are moments in his performance...or in the script where you have to laugh. The questioning scene in the beginning of the film is a fine example of this. When asked where he got that scar on his cheek...well, I can't write what he says in the regular version, but I will tell you that on edited version on TNT, it from was "eating pine apple."
There is a great performance from Robert Loggia. He's the only character I truly believed in the film. Frank was a businessman, not a killer. All he wanted was the money. Greed killed him, as it has killed so many people. I enjoyed the direction Loggia went with Frank. It has carried over his recent work and has made Loggia one of Hollywood's must durable supporting actors.
Brian DePalma adds his usual blend of violence, but it seemed that for once, he was trying to make his own film. Not borrowed. No guessing games on who he stole from this time. Although he's blasted for the film's content, it is a new beginning to his career which took off, but it was really "The Untouchables" that made me consider him a serious director.
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