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YMMV: Scarface

The original 1932 film

  • Anvilicious: Due to the Executive Meddling. Though the scene in question of Moral Guardians insisting that crime doesn't pay wasn't directed by Hawks and by and large audiences saw the original ending, which gave Camonte a Dying Moment of Awesome that made him a tragic hero as per the critic Robert Warshow.
  • Jerkass Woobie: Tony Camonte gets his humane moments when he was remorseful about killing his best friend, Guino Rinaldo. And by the film's end when his sister, Cesca, was mortally wounded by a stray bullet.
  • Seinfeld Is Unfunny: Modern audiences might naturally find the violence of the first Scarface tame in light of the remake's chainsaw goodness. But in its day, the violence was considered very shocking and to some extent, the Hawks Scarface is less sentimental. Tony Montana has Delusions of Eloquence giving speeches to people in the restaurant, "Say Goodnight to the Bad Guy" and all that, but Tony Camonte has no such inclinations and indeed Paul Muni gave him a simian like or animal like leer and green that made him tougher and harder to like and root for. It makes the film's decision to essentially make him a Tragic Hero that much bolder and make the initial panic against it understandable.

The 1983 remake

  • Adaptation Displacement: The 1983 version is more popularly well-known than the 1932 original.
  • Complete Monster: The only reason why Tony Montana is a little more sympathetic, it is because his enemies are even worse. Listed below are the following:
    • Alejandro Sosa demonstrates his monstrosity by ordering the death of a man along with his wife and children, just so he wouldn't implicate him and his friends on national TV. Tony Montana, for all the drugs and killings he's involved in, absolutely refuses to hurt innocents and blows the brains out of Sosa's assassin for trying to blow them up. Unfortunately for Tony, Sosa is not happy and Tony is killed in a firefight with Sosa's men during the movie's climax, leaving Sosa free of any consequences; that is until the game (retconned to Tony escaping the shootout), where Tony finally gives Sosa his comeuppance.
    • Hector the Toad as well. He also demonstrates his cruelty by chainsawing Angel Fernádez to death in front of Tony in the bathroom. After Tony was saved by Manny Ribera and Chi Chi, needless to say, the audience didn't sheds tears for Hector when he is finally killed by Tony himself in revenge for his friend's death.
    • Nacho "El Gordo" Contreras in the videogame Scarface: The World is Yours became this. He is a rich drug lord who has business in Miami's Downtown and islands. In addition to engage in human trafficking, he liked to beat women and then dump the bodies to the sharks For the Evulz. It is also implied that he forced several people to work in his illegal business.
  • Crowning Music of Awesome: Giorgio Moroder made it in his heyday, the same year as Flashdance, for example. Five of the songs made it into the soundtrack of Grand Theft Auto III.
  • Darkness-Induced Audience Apathy: The movie invokes this trope. There is no point getting emotionally attached to any of the people in this movie since it is a dark representation of the rise and fall of the drug kingpin.
  • Draco in Leather Pants: Tony Montana, due to Misaimed Fandom.
  • Ear Worm: Several, noticeably Push It To The Limit.
  • Family-Unfriendly Aesop: Tony dies because he refuses to harm children, to the point of killing a hitman who's about to blow up a whole family. On the other hand, if Tony hadn't agreed to help kill an innocent man (which he said he would never do), he wouldn't be in that situation in the first place. "Betraying your principles leads to terrible choices" is a much more friendly Aesop.
  • Fashion-Victim Villain: Tony has a horrible taste in both clothing and architecture.
  • Hilarious in Hindsight: A number of times, Tony and Manny use the phrase "talk to Frank". To a British viewer, Talk To Frank is the name of a government-backed drugs advice service - not exactly what you'd expect two aspiring drug kingpins to get their information from.
  • Jerkass Woobie: Elvira could be seen this way, especially in the dinner scene when she realizes what she and Tony were becoming. Not to mention the horrible way Tony verbally abuses her in the same scene. This is most evident in one of her last dialogues: "Can't you see what we're becoming, Tony? We're losers. We're not winners, we're losers."
    • It's also implied that Tony became very possessive and controlling of her following their wedding, presumably to keep her from being "stolen" in the way he'd acquired her from Frank.
  • Magnificent Bastard: Tony.
  • Memetic Mutation: Say hello to my little friend!
  • Misaimed Fandom: The film is extremely popular among a certain audience, who idolize Tony and seem to ignore all of his various, and sometimes creepy, flaws.
  • Moral Event Horizon: Sosa crosses this by ordering the killing of a man along with his wife and children, just so he wouldn't implicate him and his friends on national TV.
    • Also, Sosa's hitman crosses it when he insists on killing Gutierrez by blowing up his car even though he knows damn well that Gutierrez's wife and kids are also in the car.
    • Hector the Toad, chainsawing Angel Fernández to death in front of Tony in the bathroom.
  • Narm
    • How Tony's possessiveness is portrayed. Maybe.
    • Anyone from South Florida can tell you that Al Pacino has one of the worst "Cuban" accents ever.
    • Also the gigantic pile of cocaine on his desk, after Tony kills his best friend for marrying Gina. Here you are, nearly teary eyed from the very poignant scene right before, and then you have to snap out of it to crack up.
  • Narm Charm: While Tony's accent does often sound pretty silly, it debatedly helps him to become a more distinctive character. He might not have become quite so iconic if he didn't have such a memorable way of talking.
  • Signature Scene: Well, of course, "SAY HELLO TO MY LITTLE FRIEND!"
  • Unfortunate Implications: Defied. The credits include a disclaimer, stating that the film portrays "a small group of ruthless criminals" which do not represent the Cuban American community as a whole.
  • Wangst: Tony's complaining throughout the entire movie made him have this in spades. Gina indulged in this too, sometimes. Even Elvira's whining about the lifestyle Tony brought her into has shades of this when you realize how much of a bitch she was.
  • The Woobie: Tony and Gina's mother. Her husband left her and her son became a criminal. She left Cuba with Gina and worked hard to secure a good life for both of them and raise Gina right. Then Tony comes back and despite Mama's efforts Gina is dragged into Tony's world. In the end both of her children are murdered in the same night.

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