Scarface (1983)
“He loved the American Dream. With a vengeance.”
After getting a green card in exchange for assassinating a Cuban government official, Tony Montana stakes a claim on the drug trade in Miami. Viciously murdering anyone who stands in his way, Tony eventually becomes the biggest drug lord in the state, controlling nearly all the cocaine that comes through Miami. But increased pressure from the police, wars with Colombian drug cartels and his own drug-fueled paranoia serve to fuel the flames of his eventual downfall.
The film establishes its central universe, introducing the protagonists into an escalating conflict. Directed by Brian De Palma, this opening movement establishes high visual and thematic stakes that set the narrative journey into motion.
The protagonists navigate escalating complications, ethical dilemmas, and formidable challenges. Starring Al Pacino, Steven Bauer, Michelle Pfeiffer, the middle act intensifies dramatic momentum toward an inevitable turning point.
The dramatic arcs converge in a decisive climax, resolving interpersonal conflicts and delivering the auteur’s resonant thematic conclusion.
阿尔·帕西诺
as Tony Montana
Steven Bauer
as Manny Ray
Michelle Pfeiffer
as Elvira
Mary Elizabeth Mastrantonio
as Gina
Robert Loggia
as Frank Lopez
Miriam Colon
as Mama Montana
F. Murray Abraham
as Omar
Paul Shenar
as Alejandro Sosa
Harris Yulin
as Bernstein
Ángel Salazar
as Chi Chi
Arnaldo Santana
as Ernie
Pepe Serna
as AngelCinematographic negative, aspect ratios & laboratory mastering sheet
| Aspect Ratios | 2.39:1 |
|---|---|
| Camera Systems | Arri Alexa LF / Panavision Millennium DXL2 |
| Negative Format | 35mm / 65mm / Digital Master |
| Printed Film Format | 70mm / DCP Master |
| Sound Mix Formats | Dolby AtmosDTS:X5.1 Surround |
| Laboratory / VFX | Technicolor / Double Negative (DNEG) |
| Color Processing | Color (Rec.709 / DCI-P3 Mastering) |
| Official Runtime | 170 min |
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Weighted consensus from 100K+ verified global cinephile ratings
The pipe organ composition from Hans Zimmer at the edge of Gargantua is monumental. Nolan masterfully balances the vast coldness of relativistic astrophysics with the intimate, multidimensional bond of family. A transcendent achievement of cinema.
"Do not go gentle into that good night, Rage, rage against the dying of the light." Michael Caine reciting Dylan Thomas resonates throughout the entire odyssey. Pure cinematic grandeur.
