Scarface (also known as Scarface: The Shame of the Nation and The Shame of a Nation) is a 1932 American gangster film directed by Howard Hawks and produced by Hawks and Howard Hughes. The screenplay, by Ben Hecht, is based on Armitage Trail's 1929 novel Scarface, which portrays the life of Al Capone. The film stars Paul Muni as gangster Antonio "Tony" Camonte, and follows his violent rise through the Chicago gangland world. Ann Dvorak, and Karen Morley, Osgood Perkins, George Raft, and Boris Karloff co-star. One scene depicts a version of the Saint Valentine's Day Massacre.
Scarface | |
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Theatrical release poster | |
Directed by |
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Produced by |
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Screenplay by |
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Based on | Scarface by Armitage Trail |
Starring |
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Music by |
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Cinematography |
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Edited by | Edward Curtiss |
Production company | The Caddo Company |
Distributed by | United Artists |
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Running time | 95 minutes |
Country | United States |
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Box office | $600,000 |
Scarface was produced before the introduction of the Production Code Administration in 1934, which enforced regulations on film content. However, the Hays Code, a more lenient precursor, called for major alterations, including a prologue condemning gangsters, an alternate ending to more clearly reprehend Camonte, and the alternative title The Shame of a Nation, believing the film glorified violence and crime. These changes delayed the film by a year, though some showings retained the original ending. Modern showings of the film of television and video represent the version with the original ending, though some DVD releases also include the alternate ending as a feature; these versions still maintain the changes Hughes and Hawks were required to make for the film to be approved by the Hays Office. A completely unaltered and uncensored version of the film is not known to exist.
Audience reception was positive, but censors banned the film in several cities and states, forcing Hughes to remove it from circulation and store it in his vault. The rights to the film were recovered after Hughes's death in the 1970s. Alongside Little Caesar and The Public Enemy (both 1931), Scarface is regarded as among the most significant gangster films, and greatly influenced the genre.
Scarface was added to the National Film Registry in 1994 by the Library of Congress. In 2008, the American Film Institute listed Scarface as the sixth best gangster film. It was the basis for the 1983 film of the same name starring Al Pacino.
Screenplay
In 1920s Chicago, Italian immigrant Antonio "Tony" Camonte acts on the orders of Italian mafioso John "Johnny" Lovo and kills "Big" Louis Costillo, the leading crime boss of the city's South Side. Johnny takes control of the South Side with Tony as his key lieutenant, selling large amounts of illegal beer to speakeasies and muscling in on bars run by rival outfits. However, Johnny repeatedly warns Tony not to mess with the Irish gangs led by O'Hara, who runs the North Side. Tony soon ignores these orders, barraging bars belonging to O'Hara, and attracting attention of the police and rival gangsters. Johnny realizes Tony is out of control and aspires to take his position.
Meanwhile, Tony pursues Johnny's girlfriend Poppy with increasing confidence. At first, she is dismissive of him but pays him more attention as his reputation rises. She visits his "gaudy" apartment where he shows her his view of an electric billboard advertising Cook's Tours, which features the slogan which inspires him: "The World is Yours."
Tony eventually decides to declare war and take over the North Side. He sends the coin flipping Guino Rinaldo, one of his best men and close friend, to kill O'Hara in a florist's shop that he uses as his base. This brings heavy retaliation from the North Side gangs, now led by Gaffney and armed with Thompson submachine guns—which instantly capture Tony's dark imagination. Tony leads his own forces to destroy the North Side gangs and take over their market, even to the point of impersonating police officers to murder several rivals in a garage. Tony kills Gaffney as he makes a strike at a bowling alley. The South side gang and Poppy go to a club and Tony and Poppy dance together in front of Johnny. After Tony conspicuously shows his intention to steal Poppy, Johnny believes his protégé is trying to take over, and he arranges for Tony to be assassinated while driving. Tony manages to escape this attack, and he and Guino kill Johnny, leaving Tony as the undisputed boss of the city. In order to elude the increasingly aggravated police force, Tony and Poppy leave Chicago for a month.
Tony's actions have provoked a public outcry, and the police are slowly closing in. After he sees his beloved sister Francesca ("Cesca") with Guino, he kills his friend in a jealous rage before the couple can inform him of their secret marriage. His sister runs out distraught, presumably to notify the police. The police move to arrest Tony for Guino's murder, and Tony takes cover in his house and prepares to fire at the police. Cesca comes back, planning to kill him, but decides to help him to fight the police. Tony and Cesca arm themselves and Tony shoots at the police from the window, laughing maniacally. Moments later, however, Cesca is killed by a stray bullet. Calling Cesca's name as the apartment fills with tear gas, Tony leaves on the stairs, and the police confront him. Tony pleads for his life, but makes a break for it, only to be shot by an unknown officer with a Tommy gun. He stumbles for a moment and falls in the gutter and dies. Among the sounds of cheering, the electric billboard blazes "The World is Yours".
- Paul Muni as Antonio "Tony" Camonte
- Ann Dvorak as Francesca "Cesca" Camonte
- George Raft as Guino Rinaldo
- Osgood Perkins as John "Johnny" Lovo
- Karen Morley as Poppy
- Boris Karloff as Tom Gaffney
- C. Henry Gordon as Inspector Ben Guarino
- Vince Barnett as Angelo
- Purnell Pratt as Garston
- Tully Marshall as Managing editor
- Inez Palange as Mrs. Camonte
- Edwin Maxwell as Chief of Detectives
- Harry J. Vejar as Big Louis Costillo (uncredited)
- Howard Hawks as Man on Bed (uncredited)
Development
Business tycoon Howard Hughes, who dabbled in filmmaking, wanted a box office hit after the success of his 1931 film The Front Page. Gangster films were popular in the early 1930s in the age of Prohibition, and Hughes wanted to make a film based on the life of gangster Al Capone superior to all other films in the genre. He was advised against making the film, as the genre was crowded; Little Caesar and The Public Enemy were already popular films, and Warner Bros. claimed nothing new could be done with the gangster genre. Furthermore, industry censors such as the Hays Office were becoming concerned with the glamorization of crime in media.
Hughes bought the rights to Armitage Trail's novel Scarface, inspired by the life of Capone. Trail wrote for a number of detective story magazines during the early 20s, but died of a heart attack at the age of 28, shortly before the release of Scarface. Hughes hired Fred Pasley, a New York reporter and authority on Capone, as a writer. Hughes asked Ben Hecht, who in 1929 had won the first Academy Award for Best Original Screenplay for his silent crime film Underworld, to be head writer. Suspicious of Hughes as an employer, Hecht requested a daily salary of one thousand dollars, to be paid every day at six o'clock. Hecht claimed he would only waste a day's labor if Hughes turned out to be a fraud.
Hughes wanted prominent film director Howard Hawks to direct and co-produce. This surprised Hawks, as the two had never been friendly; Hughes had filed a lawsuit against Howard Hawks in July 1930, alleging that Hawks's film The Dawn Patrol had plagiarized his film Hell's Angels. Over a game of golf, Hughes promised to drop the lawsuit, and by the eighteenth hole, Hawks had become interested in directing the film. He became more convinced when he discovered Hecht would be the head writer. Hecht and Hawks worked together well, intending to portray the Capone character as of the Borgia Family, including the suggestion of incest between the main character and his sister, present in Trail's novel.
Writing
Hecht wrote the screenplay in eleven days in January 1931, adapted from Trail's novel. Additional writing was provided by Fred Pasley and W. R. Burnett, author of the novel Little Caesar, which the film Little Caesar was based on. Pasley wrote the screenplay including elements of book Al Capone: Biography of a Self-Made Man; the book contains a barbershop scene with Capone similar to the introduction of Tony Camonte in the film. Pasley was not credited for his work on the film. John Lee Mahin and Seton I. Miller rewrote the script for continuity and dialogue.
Because there were five writers, it is difficult to distinguish which components were contributed by which writer; however, the ending of Scarface is similar to Hecht's first gangster film Underworld, in which gangster Bull Weed traps himself in his apartment with his lover and fires at the hordes of police outside, and thus was likely a Hecht contribution.
The Scarface film bears little resemblance to the novel. Though the film contains the same major characters, plot points and incestual undertones, changes were made to reduce the length and the number of characters, and to satisfy the requests of censorship offices. To make gangsters appear less admirable, Tony's character was made to appear less intelligent and more brutish than in the novel. Similarly, the sibling relationship between Tony and the police officer was removed to avoid depicting police corruption.
Ties to Capone
Both the film and novel are loosely based upon the life of gangster Al Capone, whose nickname was "Scarface". The names of characters and locations were changed only minimally. Capone became Camonte and Moran became Doran. In some early scripts, Colosimo was Colisimo and O'Bannion was Bannon, but the names were changed to Costillo and O'Hara respectively. This, including other alterations made to characters and other identifying locations to maintain anonymity, were due to censorship and Hawks's concern about the overuse of historical details.
Ben Hecht had met Capone and "knew a lot about Chicago", so he did no research for the script. According to Hecht, while he worked on the script, Capone sent two men to visit him in Hollywood to make sure the film was not based on Capone's life.
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