The reason to bewitch 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 unusual DVD release, I can testify that the contrast is like night and day.
With every viewing, I near to indulge in Brian DePalma’s Scarface more and more. Although not perfect, there is distinguished more apt with this film than cross. It helps to compare it with its countless imitations: where most subsequent crime films race headlong from one bloody gunfight to the next, Scarface takes its time. Its languid, gliding camera has a obvious elegance in the arrangement it reveals fable points without relying on clunky Dick-and-Jane dialog or overwrought MTV pyrotechnics. A prime example is the spoiled scene where Tony Montana (Al Pacino) attemps to steal 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 encourage 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 unfriendly. Discover closely as the Columbian dismembers Tony’s friend limb by limb. In spite of the scene’s reputation, we never actually inspect what’s happening. Like the shower execute in Psycho, all the violence is implied – so strongly, in fact, that DePalma had to fight the MPAA in a well-publicized battle to sustain Scarface from receiving an X rating.
It’s appealing the plan that the improved narrate and sound seem to contribute to every aspect of the film. Subtleties in Pacino’s largely unsubtle performance become obvious. We can better explore what he does with his face in those famously murky close-ups; the plot 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 mammoth hunger – so intense that it defies articulation. Tony Montana’s astronomical tragedy is his swear lack of self-knowlege. Beneath the clouds of cordite and testosterone, he is so painfully needy that he will arrangement everyone around him into a decaying orbit of destruction. He is a criminal, but he is not spoiled. He is a sad 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 distinguished opinion. He’s an animal in both the best and worst senses of the word. The tragedy is not so mighty that he is killed at the slay – he brings that on himself – it is that so many others, not least the addicts that assume his product, must suffer and die as well. It’s downright Shakespearean, but with (lots of) f-words in residence of gilded Elizabethan speech.
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Once you collect 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 accumulate, which had always seemed to me the newer equivalent of those ham-handed “jazz” scores from sure 50’s melodramas like Man With the Golden Arm. But now the music seems “dated” more in the procedure of an early James Bond score; it is appropriate to the era. Were Scarface made now, it would detached 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 new DVD release. There is also a documentary on Scarface’s powerful influence on hip-hop music, but I smell an Certain Paddle 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 manufacture that showcases the behind 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 faded, hard-lit chiaroscuro images contributed in no little map to Scarface’s region as a original classic.
Brian De Palma’s blood soaked gangster yarn is on DVD, once again. I’ll say this suitable off the bat, if you beget the previously released Special Edition of Scarface, there’s no reason to hurry out and engage 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 dilapidated and how many bullets are fired. Besides that, there’s nothing here that hasn’t been seen before, but if you don’t already fill Scarface on DVD, well then, this is worth picking up. As for the film itself, it’s a bloody crime account featuring one of Al Pacino’s best, and most atrocious, performances as Cuban hood turned drug kingpin Tony Montana; but chances are, you already know all that. The DVD’s recount 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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