![]() His accent is way the fuck over-the-top but it works. (that last part was the main thing missing in THE DOORS in my opinion.)Īl Pacino of course is legendary for playing this character. Then of course you got the usual gangster/mogul/rock star story arc – good times, lady trouble, betrayal, paranoia, addiction, the straw that breaks the camel’s back, big awesome shootout. Initiative, elbow grease, bootstraps, etc. This is typical of his quick rise up the totem pole. He leaves with the money and the yayo (a term now popular because of the movie), tells the middlemen to fuck off and brings it all straight to the area boss, who is very impressed. But when the dealers pull a cross on Tony and his friends and it turns into an insane bloodbath (literally, come to think of it, because alot of the mayhem takes place in the shower), all involved must admit that he handles it with, uh, flair. His higher ups (small time hoods themselves) don’t believe in him. ‘Cause first you see him as an immigrant getting hassled by the man, working as a dishwasher and tough talking his way into bigger work, dropping off some money for some cocaine. And it even makes you root for this psychotic egomaniac shithead, Tony Montana (Al Pacino ). This is the perfect exaggerated painting of the 1980s and the cocaine wars. Its wicked heart pumps the tainted blood of that godforsaken Floridian peninsula, even though they got chased out of there and had to film most of the movie on neutral territory in L.A. This one feels so unique because it’s about Cuban-Americans and it takes place in Miami. ![]() We got several high quality American gangster epics, but they’re always about gangsters of the Italian American persuasion and usually in New York, New Jersey or Las Vegas or somewhere. Shit man, there’s no other movie like SCARFACE, is there? Even the original SCARFACE, I bet, is nothing like SCARFACE.
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