Scarface

THE FLICKS: Most movies try their best to disguise they era in which they were created (70’s sci-fi flicks being the exception...apparently they were pretty confident that polyester would stand the test of time). But Brian DePalma’s “Scarface” embraces the decadence and self-destruction of the 80’s as the backdrop for a re-imagining of the gangster classic with Al Pacino as the dangerously ambitious Cuban immigrant Tony Montana. It’s safe to say we wouldn’t even be enjoying this 2nd special edition if it wasn’t for all the exposure “Scarface” receives on MTV’s “Cribs,” in which every gold-toothed rapper proudly displays their copy of the film on their shelf. At the time of its release, Pacino’s over-the-top performance was about the only thing that attracted positive reviews. Oliver Stone’s brutal, profanity laced script hit the screen after fighting its way past an X-rating, only to do moderate business at the box office. But from these humble beginnings a cult film was borne. Bereft of DePalma’s usual Hitchcockian camerawork, “Scarface” is a straightforward remake of the Howard Hawks 1932 original about a low-level criminal who rises to the top, only to have it all come crashing down. Pacino’s Tony Montana (spouting quotable lines amidst the carnage such as “Say hello to my little friend!”) hits the streets of Miami with an instinct for business and a gangster’s code of honor. Michelle Pfieffer is his cold fish coke addicted wife. Steven Bauer, his childhood pal turned business partner. But after achieving kingpin status, Tony has nowhere to go but down – turning on family, friends, and alliances, he’s finally forced to defend his Florida fortress from an army of hired hitmen. Curiously subdued visually, DePalma makes the most of the violent set-pieces he has to work with. The chainsaw torture sequence is still disturbing without showing much blood and Tony’s final blaze of glory is a bullet-riddled mockery of the American dream. It’s remarkable how close Stone’s script sticks to the original while taking on the sheen of 80’s pop culture. Tony’s “come-up” as a drug czar is a more effective piece of filmmaking now that it’s a period piece instead of present day. Maybe those gold-toothed rappers were right after all. THE FEATURES: Hands down, the best reason to run out and buy the “Scarface Limited Edition” right now (you’ll recognize it by the cool fake snakeskin case which also includes a monogrammed money clip) is the separate DVD of the 1932 original “Scarface” inside. One of the first “talkies” to recapture the skill and fluidity of the best silent films that came just a few years earlier, Howard Hawks’ version is a marvel to behold – dark, dangerous and as brutal as the production code would allow. Paul Muni’s performance as Tony Carmonte is a naturalistic tour de force that is heads and tails above other actors of the time. This is the only place you can find the original, plus you get an alternate ending. As far as the extras on the ’83 version, they’re not so skimpy either, but many are holdovers from the previous DVD release. A meaty hour-long documentary talks with everyone who matters. Stone confesses he was a coke addict during the screenwriting process. DePalma laments over his legal troubles trying to get the film released with an R rating. And Pacino describes his method acting quirks (i.e., people were only allowed to speak to him in Spanish). Polished and never boring, this about as good as DVD documentaries get. Then come the deleted scenes – a half-hour plus of stuff that wasn’t good enough to make the nearly 3 hour running time. For a good laugh, check out the excerpts from “Scarface’s” network TV debut, where the censors attempt to make sense of Stone’s vulgar dialogue (i.e. “This town is like a big chicken, just waiting to be plucked.”). If you’re a rapper, you won’t want to miss the “Origins of a Hip-Hop Classic,” a well-produced if repetitive series of interviews with contemporary hip-hop stars who talk about the influence the film had on their lives. It’s fast-paced and flashy and gives you an idea why gangster rappers found a hero in Tony Montana’s rise from the gutter to the penthouse suite. FINAL SCORE: Rumor was DePalma vetoed an attempt to re-score the film with some contemporary hip-hop artists. And despite the often cheesy sound of Giorgio Moroder’s keyboard score, you have to applaud his decision to defend the film as a testament to the “Me” decade’s Day-Glo colored corruption – cheese and all. The original still gets the nod as a better film, but Pacino’s accent alone makes this a set a guilty pleasure you shouldn’t have to feel guilty about anymore.