![]() Servant? Of course … now you’re thinking about it, too. To live in a magnificent mansion and to have our food prepared by a loyal We not all want to be rich and powerful to have a heartfelt relationship and Portrays Montana as someone we know as Montana scarily with logical motives. Al Pacino does not characterize Montana as a character but DiPalma and his author, Oliver Stone, have created specific andĮngaging scenes in their film so that there is no stereotype, and we see ordinary ![]() ![]() Self-esteem, the desire to get into drugs and the inability to be happy.įilms in which the characters each have their labels and behave exactly as weĮxpect them to. Portrays personal crimes as linked to laziness, conflict, and lack of You will probably like it About Scarfaceġ972, in a Godfather movie then appears as Montana in Scarface. I suggest you visit the gangster fonts as well. This font with a gangster and action effect is just like the main title in the wanted flyer header, and you can easily create and use elements like guns and bullets, news and flyers by combining and using images and text. The whole venture is frustratingly empty and left me desiring something more.Scarface logo font is all you can expect from watching a gangster movie title full of chase. The film perpetuates harmful stereotypes about Latinx immigrants and uses gore and misogyny for shock value that never serves any purpose. Ultra-violent storytelling has never been my thing, but the issues with Scarface go beyond that. It seems like de Palma wants us to consider Italian heritage “exotic enough” to pass as Caribbean, a tactic employed before by West Side Story, which also featured Mastrantonio and was part of the inspiration for In the Heights, which was recently defended from criticism for colorism by Puerto Rican West Side Story star Rita Moreno. It’s a harmful caricature, much like the rest of this film that perpetuates stereotypes about the ruthless Latin kingpin who comes from a foreign land to kill people and sell drugs. Worst of all is Pacino’s ham-fisted accent, which surpasses “white theater kid singing along to In the Heights in the car” levels of problem (it’s me, I’m the theater kid) right into the Speedy González zone. Their skin is darkened from either bad tanning or straight-up brownface makeup, and their mother is played by a Puerto Rican Latina actress in Colón. But the Italian and English actors like Pacino, Abraham, and Mastrantonio are clearly supposed to be non-white Latinos and Latinas. Sure, there are white people from Cuba–in fact, part of the tension that led to the revolution Montana flees from in the movie is the race-based wealth gap left behind by Spanish colonialism. That’s all on top of the casting of white actors in most of the Cuban roles. I think an actual Cuban writer could have offered better insight into the complicated legacy of Castro’s early years. Nobody challenges his hatred of communism onscreen, so even if Montana is a monster, the audience isn’t given any reason to disagree with him about communism. Montana leaves Cuba to flee communism and has some unfriendly takes on Fidel Castro’s regime and its seizures of land from the capitalist class. The real-life Scarface, Al Capone, got his scar from a man in a Brooklyn bar. Scarface, featuring Al Pacino, was a thriller released in the mid-1980s and was a remake of the original film, released in the 1930s. ![]() Writer Oliver Stone is outspoken about his communist beliefs, and yet his film work often gives confused and conflicting messages about communism. Choose your favorite Scarface posters from 104 available designs. It’s totally out of character and further clouds the already-murky morality of the screenplay. Montana constantly demeans and objectifies women up until the incident that leads to the shootout, in which he suddenly decides he can’t set off a car bomb if the target’s wife is in the car. The bigger problems, though, are misogyny and whitewashing. The dialogue is cheesy and the aesthetic is always either flat or gaudy with no inbetween. There’s almost nothing interesting in the entire 170-minute run time. The drawn-out tale of ascension to lavish and illicit wealth ending in catastrophic collapse (the climax is a bloody shootout featuring Pacino’s infamous “say hello to my little friend” line) feels like a poor ripoff of a Martin Scorsese film, even though it predates Goodfellas by a solid seven years.
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