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Very Overrated

This is one of the most overrated movies ever its good not very good
not great but good. The one liners makes it good other than that its
rubbish. The original Scarface is well better in my opinion many might
disagree but many will. Great performance by Pacino but his accent is
far to strong. Pacino is one of my favorites if not my favorite but not
his best here. Oliver Stone is one of my favorites but has better work
than this. It does not deserve 8.1 by far but about 7.2. It wouldn't be
so bad but so many people think this deserves 9.0 that just annoys me.
Overall= Acting 7/10, Storyline 6/10, Directing 7.5/10, Music 8/10. So
overall it is about 7.1 at best. To me very overrated but not terrible.
7.1 / 10

iclancy-1 from Limerick, Ireland - 28 June 2009

Gangster Movies: Part 3

In an age of global mediation, the traditional logic of model and copy,
of sign and referent, has been completely undermined. Signs now refer
only to other signs, images to other images, and the real as ultimate
referent has disappeared. As Baudrillard says, we live in an age of
universal simulations and simulacra, of hyper-signs and the hyper-real.It is in this context which Brian De Palma's "Scarface" must be placed.
"Scarface" is a postmodern film about postmodern culture and a study of
desire and production in the realm of simulacra (all of which thrive on
the constant and insatiable circulation of money, drugs, images, desire
and power). Unlike all other gangster films, the look of "Scarface" is
thus aggressively pop, more akin to "A Clockwork Orange" (itself a
future world in which all art has been rendered impotent) than the
slick worlds of "Goodfellas" and "The Godfather".De Palma's aesthetic therefore contributes to a general "derealization"
of the world, the invention of a universe whose surface sheen allows no
clear distinction between reality and artifice. Consider one scene in
which De Palma's camera focuses on the billboard of a Miami sunset, an
image which seems real until his camera pulls back to reveal the
billboard's frame. As the camera descends, a restaurant sign decorated
with palm trees comes into view, the camera settling on the dirty stall
where our hero, Tony Montana (Al Pacino), is washing dishes. We think
the difference between the dream and the reality of Miami is being
shown here, but minutes later, following a violent drug deal, we see
Tony silhouetted against a real sunset which is rendered every bit as
unreal as the billboard sky. Throughout the film, the sunset mural of a
gangster's office and the various skyline scenes painted on Tony's
Hawaiian shirts, are all indistinguishable from the real Miami and the
billboard Miami, all part of a single simulacrum. Throw in countless
references to the original "Scarface", and early gangster flicks like
"Little Ceasar" and "The Public Enemy", and you have a film that is
obsessed with its own artifice. Where then, do these characters exist?Midway in the film, during a montage sequence, De Palma traces Tony's
rise to the top of his own criminal empire whilst the song "Push it to
the limit" plays over images of whirring money-counting machines,
stacks of cash and sexy people having fun. It's a cheesy scene, but the
film's point is clear. There is no anchor to Tony's inflationary
economy, no limit, no equivalence between labour and profit. As this
and other sequences reveal, cocaine is the ultimate capitalist fantasy,
a pure money machine that spews out cash faster than eyes can count.But capital is also like cocaine, an amalgam of power, Eros,
consumption, pleasure and insatiable desire. It is an all-consuming
substance that induces narcissistic ego expansion and ultimately
delusional paranoia. Cocaine, in short, is capital, a point that is
reinforced when Tony's cocaine addiction becomes inseparable from his
limitless desire for "the world and everything in it".What De Palma presents in "Scarface" is thus a world of universal
Baudrillardian simulation and capitalist desiring-production.
Everywhere capital, power and desire form boundless circuits which
dissolve previous social codes and reterritorialize them in simulations
of traditional codes, observing no law but that of limitless excess.
The "look" of the film is thus not only the look of the cocaine
experience, but the "look" of late capitalist, simulacral
post-modernity.Because it is mired in this tacky shamelessness, people have labelled
"Scarface" a sort of inferior "junk food" sibling to supposedly more
"authentic" and "real" films like "Goodfellas". But it is the very
falsity of "Scarface" that makes it real. A huge generational shift
took place during the 80s (the "shame free" enjoyment of pornography,
of bling, of video game mega violence etc) and one of the reasons
"Scarface" was so critically unpopular at the time was that it went
against the Reaganite grain. Here is your materialist American Dream,
it said, and feel how tawdry, how unsatisfying, how fake, how plastic,
how borderline criminal and psychopathic, it is at base. "The World is
Yours", but what an empty world it is."Scarface" is thus the first "bling film", grotesque in its glitzy 80s
materialism. But it is bling as purgatory. You can buy the stuff, snort
the cocaine, get the woman, live in the mansion, but nothing will fill
that existential lack. When Tony growls, "Is this it? fking sucking,
snorting?", it is not just the American Dream rendered cynical, it
approaches Sartre in its existential ennui: "Is this it? Breathing,
eating, defecating?"With its pre-Tarantino chainsaw scene, pre-Miami Vice art design and
shameless vulgarity, "Scarface" also marks the point at which the old
gangster paradigm was superseded. "Scarface" intuits a future landscape
of video game hyper-reality and violence as always excessive. It posits
crime as incessant, paranoid and vengeful (revenge against destiny,
competitors, class beginnings, genetic identity) and, in showing
pleasure as self-torture and action as impotency, goes far beyond the
romance of "Goodfellas".Note too that "Scarface" opens, not in garish overdrive, but with
newsreel footage of Cubans being expelled for disobeying the "spirit of
communism". Forged by his experience of torture and birthed in the
jails of Castro's Cuba, Tony's path to psycho-pathology is the result
of ideological abjection.With Tony sitting in his lair like a paranoid President ("Is this it?
Snorting? Vote rigging? Executing?"), fretfully protecting his
expanding empire, surrounded by banks and banks of security cameras and
a weapon's cache that would formally only have been in possession by
the military, the film's bloodbath finale now reads like a pessimistic
take on modern America, quaintly convinced that it can take on the
amorphous Other at its own ultra violent video game. But of course the
Other is always going to win. Its only law is death.8.9/10 - "Scarface": an awful future, slowly dreaming itself awake.

tieman64 from United Kingdom - 28 June 2009

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