The Shame of the Nation is one of the boldest, most potent, raw and violently-brutal gangster-crime films ever made. Released by United Artists, this sensational production chronicles the predictable but tragic rise and fall of a notorious gangster figure. A working script was readied by Januaryand after about three months of filming, it was completed later in the year.
Directed by Howard Hawks, Scarface was based on a novel by Armitage Trail, which in turn was based on the life of famed gangster Al Capone who had his own copy of the film. Producer Howard Hughes was determined to outdo all previous efforts at celluloid gangsterland, and production values were higher than those of Little Caesar or Public Enemy.
Plot Synopis The plot centers on the rise and fall of Tony "Scarface" Camonte, whom the audience first see taking out Big Louie Costello, last of the old-style gangsters. Tony catches Cesca kissing a suitor in the hall of their tenement home. Outraged, he throws the man out the door.
The Irish gangs fight back, using the new weapon of the streets - the machine gun. Entranced by the gun, Tony rushes out to take down his rivals. Tony is moving up in the gangster world - both Gaffney, the leader of the Irish gang, and his own ostensible boss Lovo live in fear of his wrath.
Afterwards, at the Paradise nightclub, Tony sits down with Lovo and Poppy. Lovo, left alone as he watches his moll dance with Tony, plots revenge.
In a rage, he wrenches her out of the hall and drags her back home. When Tony steps out, a hail of bullets awaits. He jumps into his car and eludes his pursuers. Suspicious, Tony and Guino concoct a plan to determine whether Lovo was behind the attempt on his life.
Lovo, shaky and obviously guilty, begs for his life before being shot down by Guino. Tony is now king of the gangsters. Tony leaves for a month in Florida to celebrate his triumph. When he arrives home, he finds that Cesca has moved out.
In a frenzy of jealousy, he tracks her down to her new apartment, where we see her happily playing the piano for Guino.
Cesca screams at her brother, revealing that she had been married to Guino the day before. She reviles Tony, calling him a butcher. Tony staggers to his hideout, where Cesca tracks him down, gun in hand.
Suddenly, police sirens break into the silence. Gloriously happy at the prospect of a showdown with his sister at his side, Tony is drawing the steel shutters shut when Cesca is hit by a bullet. Tony carries the mortally wounded Cesca to a sofa, where he weeps over her, telling her that without her he will be completely alone.
With her last words, Cesca accuses Tony of being afraid and calls for Guino. A tear-gas grenade forces Tony out of his protected room and down a flight of stairs - where policemen await at the landing. Hawks took an artistic approach to Scarface, using subtle imagery lacking in other Warner Brothers offerings.
Before Tony kills his superiors, he whistles "Chi mi fena in tal momento? Translated, the title means "What restrains me in such a moment? Hawks, who was at first reluctant to direct, brought a touch of historical class to the picture by basing the lives of the gangsters on the lives of the Borgias - thus the implied incestuous relationship between Tony and Cesca had a Renaissance basis.
Scarface Cut Up Censorship and a new gangster A backlash of criticism from Christian magazines and other sources followed the success of Public Enemy and Little Caesar accusing the two films of glorifying gangsters. Scarface, however, was so violent that began its wrangles with the censors even before its release - it was actually ready for the screen in but was held up for two years the recent disapproval of the Two Warner movies making the process even more difficult.
In order to get a Motion Picture Association of America seal of approval, many changes had to be made to the picture.
The title was changed to Scarface: Shame of a Nation, and a moralizing introduction was added: This picture is an indictment of gang rule in America and of the callous indifference of the government to this constantly increasing menace to our safety and our liberty.
Every incident in this picture is the reproduction of an actual occurrence, and the purpose of this picture is to demand of the government: What are YOU going to do about it? The first scene, featuring the monologue by the chief of police, is almost an apologia for the Hays Code which allowed outright violence in Westerns on the grounds that they were set in a less civilized time: They think these hoodlums are some sort of demagogues.
What do they do about a guy like Camonte? They sentimentalize, romance, make jokes about him. They had some excuse for glorifying our old Western badmen.The Spiders Part I: The Golden Sea The Context of the Film Fritz Lang's The Spiders () is a motion picture serial.
Like the serial work of Louis Feuillade, it is made up of an irregularly long series of films, each around an hour in yunusemremert.com only made two of the four films he planned in this series: The Golden Sea, and The Diamond yunusemremert.com Spiders are a mysterious gang, who are up to no.
Censorship of Howard Hawks’ Film, Scarface Essay Words | 10 Pages An Examination into Howard Hawks’ Film Scarface (), and Whether This Film Was Truly Dangerous, Deeming the Necessity for Censorship This paper discusses the controversial issue of censorship of Howard Hughes’ film Scarface () while presenting the .
Search and browse our historical collection to find news, notices of births, marriages and deaths, sports, comics, and much more.
Scarface ( Film) study guide contains a biography of director Howard Hawks, literature essays, quiz questions, major themes, characters, and a full summary and analysis. About Scarface ( Film).
Scarface ( Film) essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Scarface ( Film), directed by Howard Hawks.
Scarface and Double Indemnity: The Corporate Loss of American Morality. Shot without director Howard Hawks, who refused to be a part of the forced inclusion of scenes that both disrupted the fluidity of the film and stood out as moralistic grandstanding, these scenes overtly appeared as a form of censorship.