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The reason to seize this DVD is simple: one of the most influential films of the 20th century has finally been released in a newly restored, pristine transfer. As an owner of the fresh DVD release, I can testify that the dissimilarity is like night and day.
With every viewing, I advance to luxuriate in Brian DePalma’s Scarface more and more. Although not perfect, there is worthy more moral with this film than cross. It helps to compare it with its countless imitations: where most subsequent crime films speed headlong from one bloody gunfight to the next, Scarface takes its time. Its languid, gliding camera has a positive elegance in the scheme it reveals account points without relying on clunky Dick-and-Jane dialog or overwrought MTV pyrotechnics. A prime example is the sinful scene where Tony Montana (Al Pacino) attemps to bewitch two kilos of cocaine from some Coloumbians for his boss, Frank Lopez (Robert Loggia) . Recognize the intention the camera drifts from the Miami Beach hotel room, across a serene sun-drenched street, over to the car where Tony’s associates are waiting for him, then slowly assist up to the bathroom window, where the sound of the idling chainsaw grows louder. Creepy. Insinuating. It’s comparable to the best work of Hitchcock - a day-lit nightmare where the ordinary becomes imperfect. Survey closely as the Columbian dismembers Tony’s friend limb by limb. In spite of the scene’s reputation, we never actually gape what’s happening. Like the shower destroy in Psycho, all the violence is implied - so strongly, in fact, that DePalma had to fight the MPAA in a well-publicized battle to retain Scarface from receiving an X rating.
It’s arresting the map that the improved relate and sound seem to contribute to every aspect of the film. Subtleties in Pacino’s largely unsubtle performance become definite. We can better study what he does with his face in those famously dark close-ups; the diagram he registers what he’s thinking privately, even as he swaggers with exaggerated bravado. Where once it seemed he was over-acting at times, it is now apparent that he was carefully playing his character’s machismo against a darker undercurrent of enormous hunger - so intense that it defies articulation. Tony Montana’s enormous tragedy is his suppose lack of self-knowlege. Beneath the clouds of cordite and testosterone, he is so painfully needy that he will procedure everyone around him into a decaying orbit of destruction. He is a criminal, but he is not sinful. He is a sunless hole of a man, a vacuous human being whose desires eclipse whatever soul that a life of deprivation and decay may have left him. He acts without apology, or even powerful understanding. He’s an animal in both the best and worst senses of the word. The tragedy is not so remarkable that he is killed at the raze - he brings that on himself - it is that so many others, not least the addicts that recall his product, must suffer and die as well. It’s downright Shakespearean, but with (lots of) f-words in station of gilded Elizabethan speech.
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Once you score past those 160-odd f-variants, Oliver Stone’s screenplay begins to seem as thoughtful as it is blunt. The language is harsh, but also truthful, with plenty of quotable lines (though you would not want to quote them in polite company) .
The improved sound mix also brings into relief something that I had always looked upon as a liability of Scarface - the very “80’s” music secure, which had always seemed to me the newer equivalent of those ham-handed “jazz” scores from definite 50’s melodramas like Man With the Golden Arm. But now the music seems “dated” more in the diagram of an early James Bond score; it is appropriate to the era. Were Scarface made now, it would unexcited be a legitimate choice of styles.
The extras are thorough, though the “making of” documentary seems to be a longer version of the one from the novel DVD release. There is also a documentary on Scarface’s powerful influence on hip-hop music, but I smell an Determined Bolt for a CD of music “inspired” by the film. (The package insert proclaims that it’s In Stores Now! from DefJam records.)
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In any case, Scarface has finally received its due respect in a compose that showcases the slack John Alonso’s brightly-hued, yet somehow gritty cinematography. Alonso also photographed the sumptuous Chinatown. This DVD is also a tribute to him - a master of light and shadow, whose old, hard-lit chiaroscuro images contributed in no slight procedure to Scarface’s position as a unique classic.
Brian De Palma’s blood soaked gangster legend is on DVD, once again. I’ll say this correct off the bat, if you enjoy the previously released Special Edition of Scarface, there’s no reason to urge out and occupy this Platinum Edition, which has an assortment of previously released extras to go along with a counter for how many times the “F” word is extinct and how many bullets are fired. Besides that, there’s nothing here that hasn’t been seen before, but if you don’t already enjoy Scarface on DVD, well then, this is worth picking up. As for the film itself, it’s a bloody crime memoir featuring one of Al Pacino’s best, and most snide, performances as Cuban hood turned drug kingpin Tony Montana; but chances are, you already know all that. The DVD’s relate quality looks cleaner, and the “remastered and remixed” sound is crisper as well, but whether or not you want to lay down the cash for this depends on how many times you’ve been suckered into buying the movie.
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