SCARFACE

US, 1932, 107 minutes, Black and white.
Paul Muni, Ann Dvorak, Karen Morley, George Raft.
Directed by Howard Hawks.

Scarface is one of Howard Hawks' earliest sound films. After a career in silent films and making Hell's Angels, Hawks, with the collaboration of Ben Hecht as screenwriter, made one of the classic gangster films (Public Enemy Number One by William Wellman, and Mervyn Leroy's Little Caesar appearing at the same time). These films set a tone for the gangster genre throughout the '30s and for the many gangster films in subsequent decades, especially the revival after The Godfather in the '80s.

Paul Muni is a vivacious Scarface (a character allegedly based on Al Capone). In the background of Chicago wars, this man who hopes in the American dream rises ruthlessly to power, is infatuated unwitttingly with his sister and kills his best friend. The film was subtitled The Shame of a Nation and moralising segments were inserted.

The film moves briskly, highlights the gangster wars of the times, portrays the gangsters as ugly - with a touch of
humanity - but the police as gruff and relentless pursuers of justice. George Raft and Boris Karloff made impact in
supporting roles and went on to great success in other films, Raft often repeating this type of role and sending it up in such films as Some Like It Hot. The film ends, moralisingly, with the lights of the Thomas Cook's advertising display and the possibility of seeing the whole world and gaining it.

1. A classic gangster film of the '30s? Its influence in many films similarly done in the '30s? So much imitation? The '80s remake?

2. The prologue about gangsters and the need for government to act? The insertion of the newspaper editor's speech about the gangsters and the need for governments to act and for the public to act? The film's stances on gangsters, their activity in the 120s? The film's moralising? Its being condemned in its time as being pro-gangster?

3. The quality of black and white photography, early sound? The atmosphere of the city, the various areas - wealthy and poor? Authentic atmosphere? The musical score - and its emotional tones? The pace of the editing?

4. The title and the nature of the scar on Tony's face? The cross and its use? The frequent uses of images of crosses? The echoes of religious overtones? Associated with Tony, with Guino? Scarface as Tony's nickname, as symbolic - and as the Shame of the Nation?

5. What grounds were there for accusing the film of glorifying the gangster? In the portrait of Tony? In audience sympathy for Guino? As the screenplay attacked the police and presented them unsympathetically? The question of putting gangsters on the front page for public attention or ignoring them?

6. The credibility of the film - authentic action? The dramatising of '20s experiences? The comparisons with Al Capone? Other Chicago gangsters? The film as a piece of Americana of the times? The enormity of the gangster problem, the control of cities, Prohibition and the rackets. violence and deaths. machine gun shootings? The role of the migrant groups in the cities, the dreams and their being fulfilled in power struggles and vice? The film anchored to the experience of Al Capone? The St. Valentine's Day Massacre?

7. The gangsters and their ethos? The later imitations? The film establishing the conventions of the genre? Warfare, justice, the rules and the breaking of rules?

8. The role of government? The role of the police - the tough line against the gangsters, their being hampered by investigation, lack of co-operation?

9. The opening with Louis Costillo's party, the merriment, the tracking shots of the aftermath of the party, the phone call, the ominous whistle (Tony's signal), the shooting? The leading to developments of mutual massacres by the groups? The emergence of Lovo as chief? Tony as one of Lovo's lieutenants? Guino and his help? The establishing of the gangs, the meetings, the exercises of power within the meetings, standover tactics, divisions of control of north and south of the city?

10. Lovo and his style: weak. assertive. posing for power? Using Tony and Guino? The relationship with Poppy - and her abandoning him? His taking responsibility for the killings? Turning against Tony? His own death?

11. The context for Tony's emergence as a leader? His being touch, unscrupulous, vain? A big talker? Ignorant - and his misunderstanding words? His trying to acquire taste and style with new suits, going to the theatre - and his response to Somerset Maugham's play Rain and his assessment of Sadie Thompson and her relationship with the minister. with the soldiers? Attempts at culture? Yet his capacity for violence? A good PR man but with push? His lining up contracts from the various small businesses? His principle of 'do it, do it yourself, keep on doing it'? His amoral behaviour? Gangster mentality, power?

12. His growth in authority, the contracts for the beer, the invading of the north, O'Hara and the massacre, the flowers? Gaffney and the St. Valentine's Day Massacre? His being shot? The device of the calendar dates being shot off the wall? The style of Tony's power and killing? His followers?

13. Guino and George Raft's style, smooth, the tossing of the coin? The place in the assassinations? The comedy with Tony's secretary - trying to answer the phone. about to shoot it? Going to the play - and bringing the news about the play's ending? His death and still trying to answer the phone properly? The code of the gangsters and their loyalty?

14. The Manero household: his mother and her disdain for Tony? Cesca and her youthfulness, her devotion to Tony? Her wanting to fall in love, her wanting to go out with boys? Tony's frightening them off? Cesca and the dance, her seduction of Guino and marrying him? Tony's reaction, humiliating her with the dress, forbidding her to go out? The shooting of Guino without knowing that they were married? The incestuous undertones - and Tony's ignorance of his feelings and possessiveness? The effect on Cesca, her going hysterical, helping Tony in the final siege, her death? The continuous theme of the '30s gangster portrayals and their inhibited sexuality, undeveloped?

15. Poppy as the gangster's moll, her wealth and style, her reaction to Tony and despising him. fascinated by his ignorance, personality, visiting him, going out the back way, her becoming his moll? But his ignoring her while not ignoring Cesca?

16. The material made familiar by the gangster film of the '30s? The quality of this production with Paul Muni's acting? The design? The pace? Audience involvement?

17. Paul Muni and his presence. voice, boastful and vain style, carrying the film and making it a classic? The film as seen in Howard Hawks' canon and his images of America?