Scarface
(TV Guide's Online Motion Picture Database)
Gangsters in the 1930s received more press than the President of
the United States. Grim, gruesome creatures that the gangsters were, the
financially downtrodden public during the Great Depression oddly identified with
them; their twisted careers, which the press itself promoted, were thought to be
glamorous and sophisticated. For the uneducated and the unemployed, the gangster
was sort of a folk hero. SCARFACE changed that misconceived notion. Though the
gangster genre had begun with a tremendous explosion of films such as LITTLE
CAESAR and PUBLIC ENEMY, it was SCARFACE (originally called "Scarface, the Shame
of a Nation") that depicted the glorious gangster as a murderous beast. In
earlier films of the genre, a great deal of attention was paid to developing the
background of the criminal and placing the blame for his antisocial activities
on environment, poverty, bad home life, and unthinking parents. But with
SCARFACE, all of that was dispensed with to give audiences for the first time an
adult, fully developed monster who thrived on death and power. The first scene
of SCARFACE shows Paul Muni only in shadow, whistling a few bars of an Italian
aria before shooting a victim and then walking calmly away. The remainder of the
film shows Muni's rise from gunman to crime boss of the city, obviously Chicago.
It's also obvious that his career as shown on the screen is that of the
notorious Al Capone. Muni is honestly portrayed as the typical gangster of the
era; he is brutal, arrogant, and stupid, a homicidal maniac who revels in gaudy
clothes, fast cars, and machine guns, because their rapid fire allows him to
kill more people at a single outing. (The number of deaths recorded in this
ultra-violent film is 28, with many more reported as occurring off-camera.) But
Muni is also insanely jealous of his slinky sister, Ann Dvorak, to the point
where his feelings toward her are obliquely incestuous, though he is too stupid
to know it. Muni works for Osgood Perkins, a more sophisticated and clever
hoodlum who, in turn, is the chief lieutenant of Harry J. Vejar, the city's
nominal crime boss. (Perkins' role is based on Johnny Torrio, the creator of
organized crime in America, and Vejar is a duplicate of Chicago's old-time crime
czar, Big Jim Colosimo.) Muni is arrested for the murder shown in the opening
scene, but the mob lawyer soon has him freed on a special writ. Muni manipulates
the thugs and bosses to achieve his own ends, encouraging Perkins to kill the
old-time boss Vejar, since Vejar will not take advantage of the new Prohibition
law and go into bootlegging liquor. After Vejar has been killed in his lavish
restaurant, Perkins calls a meeting of all the mob bosses in the city and
lectures them about the wild shootouts that have drawn too much attention from
the press and heat from the police. When Perkins tells Muni to leave North Side
boss Boris Karloff alone, Muni says he'll take care of Karloff. Later, Perkins
has the ambitious Muni come to his swanky apartment, where the bodyguard gets a
good look at cool blonde Karen Morley, Perkins' sexy mistress. It's obvious that
the ruthless thug covets her, and she is ready to reciprocate. Perkins warns
Muni to curb his strong-arm methods, and Muni gives him an empty promise,
continuing to go his own way, strong-arming and killing at will.
Later, Karloff's men attack as Muni, Raft, Morley, and Barnett sit in a coffee
shop. They're nearly killed as they are fired upon from several cars moving
slowly past in a phony funeral procession. Muni and company are unharmed though,
Raft even capturing one of the enemies' weapons at the behest of the arrogant
Muni. Perkins is not impressed, however, and tension mounts between the crime
boss and his second-in-command. Meanwhile, Karloff remains the gang's only
significant enemy, raiding their warehouses, killing their men, and waging
all-out war against them. Muni finally corners Karloff's gang in a garage and
cuts them down with machine guns, a slaughter that brings down the wrath of the
public and the disapproval of Perkins on Muni. Karloff himself is later gunned
down in a bowling alley by Muni's henchmen.
Perkins, finally fed up with this reckless activity, orders a group of henchmen
to kill Muni. After leaving a nightclub without his bodyguards (to chase after
his sister, who was dancing a little too close to her date), Muni is attacked
and his car is run off of the road. He survives, however, and upon discovering
that Perkins was behind the hit attempt, goes to Perkins' office, where he
orders Raft to kill him. With Perkins out of the way, Muni can now claim Morley
as his own and take over the powerful underworld position that Perkins once
held. Muni becomes extremely successful, but his reckless behavior and wild
antics eventually take their toll. His relationship with his mother
deteriorates, and his wildly possesive feelings for his sister increase to
ridiculous proportions. In addition to the personal problems, Muni begins to
feel pressure from the law, as they get closer to actually catching the elusive
criminal. Muni, whose world is gradually falling apart, is now hunted by the
police and stuck with a strongly depleted gang, and it's not long before he
learns that his sister is living with his best friend Raft. Not knowing that
Dvorak and Raft are married, he goes to Raft's apartment and shoots him to
death. Dvorak hysterically curses Muni as he walks dumbly away in a daze. The
police are closing in on Muni now and surrounding his apartment, where Dvorak
has gone to seek revenge for the killing of Raft. As the police begin raking the
place with machine gun fire, Muni fires back, shouting to Dvorak that they can
hold out indefinitely. But when a stray police bullet kills her, Muni goes
berserk, turning into a sniveling coward. After begging the police not to shoot
him, he makes a dash for freedom and is shot down, his body landing in the
gutter.
SCARFACE, under director Howard Hawks' iron grip, was the most violent, bloody
gangster film of the genre and remains a classic to this day. Hawks pulled no
punches in creating this exciting film, running his cameras with the action in
truck and dolly shots that were mostly unheard of in the early talkie period.
Aiding Hawks greatly in his intricate construction of the picture was cameraman
Lee Garmes, whose sharp contrasts lent a sinister look to the film and, in the
glaring gangster daylight he created, images that are stark and brutal. Producer
Howard Hughes spared no expense in presenting the greatest gangster film of the
era, but he also interfered with Hawks as he did with other directors, insisting
that Hawks present all decisions for his approval. In fact, the Hawks-Hughes
production was almost cancelled because of the incessant squabbling between the
producer and director. Almost nothing was used of the Armitage Trail novel on
which the film is based, except the title. Profiling the gangster and his
tempestuous sister as modern-day Borgias was Hawks' idea, with the incest
relationship as the emotional weakness that destroys the unthinking gangster.
Hecht had been offered $20,000 by Hawks to write the script, but wanted instead
$1,000 a day in cash--not a particularly advantageous deal since he finished the
script in 11 days.
Muni is superb in his role of the maniac killer. Morley is perfect as the
ice-cool blonde gun moll, a violence-craving chippie who is turned on by power
and killing, all embodied by Muni. Karloff's performance is marred by an oddball
interpretation of how a Chicago gangster is supposed to talk. He plays a part
based on Chicago's George "Bugs" Moran and he looks his part, with his staring
deep-socketed eyes and stiff, lethargic movements, a gaunt, almost
ghoulish-looking gangster. The dumbbell gunman, Barnett, had never acted before
Hawks gave him his role in SCARFACE. His buffoonery on the set drove the
professional, reserved Muni crazy, but Hawks thought Barnett was funny. As the
crafty sub-boss, Perkins is slick, and Raft, with his tuxedo and pomaded hair
parted in the middle, is excellent as Muni's right-hand man, a killer who does
Muni's bidding without question. Muni and Raft became stars overnight because of
SCARFACE, and both received lucrative long-term contracts from studios, Muni at
Warners where he would see enormous success with such films as I AM A FUGITIVE
FROM A CHAIN GANG, JUAREZ, THE GOOD EARTH, THE LIFE OF EMILE ZOLA, and THE STORY
OF LOUIS PASTEUR, for which he would win an Oscar as Best Actor. Raft, on the
other hand, appeared for Paramount in a host of rather mediocre films, but was
nevertheless a solid leading man for two decades to come. Raft had hung around
several New York gangs in the 1920s, including the Dutch Schultz mob. He had
been fascinated by one of Schultz's lieutenants, Bo Weinberg, who had a habit of
flipping a coin just before he shot someone, a trick Raft incorporated into his
portrayal.
Authenticity was Hawks' middle name during the filming of SCARFACE. For the
scene in which the coffee shop is riddled by the passing caravan of gangsters,
the actors were called off the set, and machine gunners, using real bullets,
shot the set to pieces. The actors were then brought back onto the set and the
shot was superimposed as if they were right in the middle of the murderous
fusillade. When Hawks saw rushes of a one-car smashup during a gang shootout, he
insisted that more cars be wrecked, until a total of 19 cars were smashed into
buildings, lampposts, and uprooted fire hydrants. Hawks used Fred Palsey, then
the top crime reporter for the Chicago Tribune, as a sort of long-distance
researcher (he received credit in the screenplay), checking almost daily with
Palsey by phone to verify crime personalities and underworld techniques and
procedures. When real gangsters heard that Hawks was making SCARFACE, they
applied for jobs as extras or "advisers." Several of these underworld types were
used to supply additional information on how the gangs operated. Capone himself,
according to the director, later gave Hawks a special party in Chicago, honoring
him for making SCARFACE. (Not only did Capone, according to Hawks, see SCARFACE
five or six times, but he had his own print of it. He thought it was great.)
SCARFACE remained Hawks' favorite film (as it was Hughes').
The film ran into censorship problems right from the beginning. Hollywood, which
had practiced every conceivable excess on the screen, had still never
experienced anything like SCARFACE, an utterly ferocious film of bloodshed and
violence, not to mention the ultimate taboo--incest--even though no sexually
incestuous act is shown. The powerful Motion Picture Producers and Distributors
of America, Hollywood's moral custodian at the time, insisted upon dozens of
cuts and a whole new ending where Muni's flagrant crimes are atoned for. Hawks
refused to shoot this bowdlerization, but Hughes ordered more scenes shot,
showing Muni (a stand-in, shown in silhouette, since Muni himself had left the
production and returned to the Broadway stage at the time) being tried,
sentenced, and then hanged as a mass murderer--this in spite of the fact that
the State of Illinois had abandoned the gallows in 1922 and gone over to the
electric chair. Moreover, moralistic speeches representing Hawks' movie as a
"social lesson" instead of the stark and realistic profile the director always
intended were delivered by newspaper editor Tully Marshall and police
commissioner Edwin Maxwell. This watered down version of SCARFACE finally
received a Seal of Approval, but when prints were shipped East for the film's
premiere, the State Board of Censors in New York refused to let the movie be
shown, demanding even more cuts and changes. In frustration, Hughes released
both the original print as Hawks had shot it and the doctored, revised print
with the prologue and epilogue tacked on (these have long since disappeared from
prints seen today), selecting which print to show depending on the reactions in
various locations throughout the country. This resulted in confusion among film
enthusiasts and endless arguing over how Muni dies at the end of the film.
Almost all prints available today show Muni ending his bullet-laden career in
the gutter. After all the commotion had died down, Hughes, who had spent well
over $1 million to make SCARFACE, saw that returned double. All the fuss with
censorship had boosted the box office greatly. Hughes jealously guarded future
releases of SCARFACE, which he cherished as his most creative film production,
and when he removed it from distribution, he refused to sell the rights to the
story or allow exhibitors to show the classic production. Oddly, the prints
Hughes kept locked up in his vaults were only copies. Hawks somehow got his
hands on the original negative and refused to give it up to Hughes, hiding it.
Upon Hughes' death the executors of his will were instructed to confiscate all
copies of SCARFACE, meaning they were to get their hands on Hawks' negative. Not
until 1979 did Hughes' Summa Corporation sell all the rights to SCARFACE to
Universal Studios, thus making the film available once more to the public, who
could only see this classic in pirated editions up to that time.