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After forty years since Scarface was released in theaters with a dramatic display of gunfire, why does Tony Montana continue to be revered by drug dealers, mafia members, criminals, and even those who aspire to live a lavish life outside the boundaries of the law?
His nearly three-hour biography qualifies as tragedy, the story of a rage-choked cocaine addict with minimal self-control and a possible incest kink who methodically alienates everyone he’s ever held dear until he is gruesomely murdered for his impulsivity and hubris. He spends his twilight years paranoid, tasteless, violent and miserable, equal parts cautionary tale and mad king(pin). He’s not exactly an aspirational figure.
However, it is clear that Tony embodies the insatiable drive of the American dream, representing the greedy pursuit of wealth and success that defined the era of Reaganomics. He fled Cuba during the Mariel boatlift in 1980 (depicted in archival footage during the opening credits), a mass emigration of political prisoners following Castro’s release. In Miami, surrounded by flashy lights and fueled by Giorgio Moroder’s synth beats, Tony becomes a symbol of individualism and assimilation, embodying the myth of America as a land of limitless opportunity. He takes whatever he wants, always hungry for more. Just like Trans World Airlines, a company once led by Howard Hughes, another rebellious American figure consumed by his own obsessions, Tony lives by the motto “The World Is Yours.” Even in his downfall, he goes out on his own terms, embracing the “live free or die” mentality until the very end.
Those in Tony’s profession have come to terms with this contradiction through the saying that if you live by the gun, you die by it as well. For De Palma and screenwriter Oliver Stone, balancing a rational evaluation with exaggerated glorification took a steady hand. During its first release, Scarface received harsh criticism from many reviewers for its excessive violence, which resulted in an X rating from the MPAA in its first four edits. The film features a variety of graphic scenes, from a dismemberment by chainsaw to a final shootout with an abundance of bullets. It’s worth considering that the over-the-top extravagance may be intentional in a movie that reaches its protagonist’s darkest point in a hot tub of extravagant proportions. However, there is no hint of irony or detachment to offer satirical relief. Instead, the tone leans towards self-parody, reflecting Tony’s exaggerated taste in home decor and his belief that there is no such thing as too much black marble. In this sense, we could compare this film to De Palma’s version of Showgirls – another story of a manic rise to power that portrays Las Vegas as the Miami of the West through its portrayal of unapologetic hedonism.
Al Pacino’s portrayal of Tony is both confusing and enlightening. It falls in the middle of his impressive performances in the 1970s and his exaggerated roles in the 1990s. He utilizes his Method training, focusing on spontaneity shown through his impromptu remarks and unpredictable physicality. This perfectly suits Tony’s character, who intimidates his enemies and followers with a combination of unreadable stoicism and sudden outbursts of rage. It also aligns with Pacino’s tendency to dominate his scene partners by constantly questioning them. When trying to win over his boss’s lover, Tony’s approach is simply to talk and talk until she gives in to his charm.
Throughout the movie, a problem with repetitive movements threatens to consume a talented actor, as his exaggerated mannerisms become most prominent in his portrayal of a Cuban accent. Greeting someone as a “little friend” has been overused by many unoriginal men, partly because it is easy to imitate Pacino’s exaggerated approach to speaking in a foreign accent. His exaggerated portrayal of a Latino character stands out as the most unoriginal aspect of a film that looks ahead with its exaggerated violence and representation of American foolishness. However, the decision to cast Italian-Americans Pacino, Robert Loggia, and Italian-Syrian F Murray Abraham highlights the interchangeable nature of ethnic immigrants who all face similar struggles for a successful life and freedom.
When the film was first released, people from Cuba expressed their disapproval of Tony’s behavior, not because he was appropriating their culture, but because he perpetuated harmful stereotypes by portraying “Marielitos” as violent criminals in the opening scene. The producers of the film felt the need to include a statement after the credits to clarify that Cuban-Americans are a diverse group and should not be generalized. This was likely done before those who were criticizing the film had a chance to see the scene where Tony’s mother reprimands him for tarnishing the reputation of Cubans.
This movie clearly emphasizes the importance of morals, even though it does not focus on them heavily. It addresses the criticism of glorifying the very thing it is trying to critique. The consequences of Tony’s actions are not fully explored, with only a few meaningful deaths shown in the end. The rest of the casualties are faceless henchmen. Similar to The Wolf of Wall Street, which also has a following that sees the main character as admirable, Scarface follows the belief that the allure of extreme wealth cannot be understood without acknowledging its addictive nature. Tony Montana’s obsession with cocaine is a testament to this idea.
If his recklessly extravagant way of living seems like a dream, it’s only because it’s better than having to work for a living. His biggest achievement is not when he finally overcomes all obstacles to claim the throne, but much earlier when he and his closest friend leave their dead-end jobs washing dishes at a hot taco stand and confidently walk away. This marks the beginning of their journey towards ruin, which for many aspiring Americans seeking upward mobility, is the only path with any hope of progress.
Source: theguardian.com
