Scarface (1932 film)

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excessive life of a gangster, whether in pleasure or in violence. The death scene of Costillo sets the next tone of excess. In this scene, the audience sees only the shadow of Tony Camonte with a gun, hears the shots and the sound of the body hitting the floor. The violent scenes become more severe as the film progresses. Most of the violence in the film is shown through montage, as scenes go by in sequence, showing the brutal murders that Tony and his gang commit such as roughing up bar owners, participating in a drive-by bombing, and massacring seven men against a wall. A scene shows a peel-off calendar rapidly changing dates while shot by a machine gun, making the excessive violence clear. The violence is not only perpetrated by the gangsters. The police in the final scene with Tony and Cesca spare no effort to catch the notorious Camonte siblings, visible through the disproportionate number of police officers and cars surrounding the apartment complex to apprehend one man. Tony and the police's excessive use of violence throughout the film normalizes it. An element of parody underlies Tony's abnormal joy in using Tommy guns. In the scene in the restaurant in which men from the North Side gang attempt to shoot Tony with a Tommy, he obtains pleasure from the power. Rather than cowering beneath the tables, he tries to peek out to watch the guns in action, laughing maniacally from his excitement. He reacts jovially upon getting his first Tommy gun and enthusiastically leaves to "write name all over the town with it in big letters".

1534:, "one of the most solid and constructive motion pictures ever produced overseas". They lobbied to bring in a foreign language film to help domestic film producers save money in the Italian economy damaged by the recent war. After receiving approval at the end of 1946, Titanus translated a script for dubbing the film. One difference in the Italian script is the names of the characters were changed from Italian sounding to more American sounding. For example, Tony Camonte was changed to Tony Kermont, and Guino Rinaldo was changed to Guido Reynold. This and several other changes were made to conspicuously remove references to Italians. Another example is the difference in the scene in the restaurant with Tony and Johnny. In the American version, Tony makes a comical statement about the garlic in the pasta, whereas, in the Italian translation, the food in question is a duck liver pâté, a less overtly Italian reference to food. Moreover, in the American version, the gangsters are referred to as illegal immigrants by the outraged community; however, in the Italian dubbed version, the citizen status of the criminals are not mentioned, merely the concern of repeat offenders. 1441:

audience gets a look at his face. He appears foreign with a noticeable Italian accent, slicked hair, and an almost Neanderthal appearance evident by the scars on his cheek. As the movie progresses, he becomes more Americanized as he loses his accent and his suits change from gaudy to elegant. By the end of the film, his accent is hardly noticeable. Upon the time of his death, he had accumulated many "objects" that portray the success suggested by the American Dream: his own secretary, a girlfriend of significant social status (more important even is that she was the mistress of his old boss), as well as a fancy apartment, big cars, and nice clothes. Camonte exemplifies the idea that one can obtain success in America by following Camonte's own motto to "Do it first, do it yourself, and keep on doin' it." On the other hand, Camonte represents the American urge to reject modern life and society, in turn rejecting Americanism itself. The gangster strives for the same American Dream as anyone else, but approaches it in a way at odds with modern societal values, through violence and illicit activity.

913:, who loaned out Morley for the film. She was reportedly given the choice between the role of Poppy or Cesca. Though Cesca was the stronger role, she chose Poppy as she felt Cesca would be a better fit for her friend Ann Dvorak. She considered this "probably the nicest thing did in life". Morley invited 20-year-old Dvorak to a party at Hawks' house to introduce them. According to Hawks, at the party, Dvorak zeroed in on George Raft who played her love interest. He initially declined her invitation to dance. She tried to dance in front of him in order to lure him; eventually, he gave in, and their dance together stopped the party. After this event, Hawks was interested in casting her but had reservations about her lack of experience. After a screen test, he gave her the part, and MGM was willing to release her from her contract as a chorus girl. Dvorak had to both receive permission from her mother 1450:

evident in scenes and interactions involving Tony, Johnny, and Poppy. In an early scene in the film, Tony comes to Johnny's apartment to receive his payment after killing Louie Costillo. Two rooms are visible in the shot: the main room, where Tony sits, and the room in the background where Poppy sits and where Johnny keeps his money. Lovo goes into the back room but Tony does not, so this room represents Johnny's power and territory. The men are sitting across from each other in the scene with Poppy sitting in the middle of them in the background representing the trophy they are both fighting for. However, they both appear equally in the shot, representing their equality of power. Later, in the nightclub scene, Tony sits himself in between Poppy and Johnny showing he is in control through his centrality in the shot. He has gained the most power and territory, as indicated by "winning" Poppy.

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in relation to physical territory, but he also disrupts the internal power structure of his own gang by blatantly disobeying his boss, Johnny Lovo. Gaffney's physical position juxtaposes Tony's position. Throughout the film, Gaffney's movement is restricted by both setting and implication because of the crowded spaces in which he is shown onscreen and his troupe of henchmen by whom he is constantly surrounded. Tony is able to move freely at the beginning of the film, becoming progressively more crowded until he is as confined as Gaffney. He is surrounded by henchmen and cannot move as freely throughout the city. This, however, is self-imposed by his own excessive desire for territory and power.

978:, the Hays Office wanted to avoid the sympathetic portrayal of crime by either showing criminals recognizing the error of their ways or showing criminals getting punished. The Hays Office, however, did not have authority to remove material from a film until the MPPDA officially pledged to adhere to the Production Code in 1934, so they relied on delaying film release and lobbying to remove scenes or prevent movies from being produced. Films evaded the Hays Office by adding extremely suggestive scenes so they could remove them and satisfy the Hays Office enough that they would not notice the lesser immoralities that remained in the film. 1622: 31: 1158: 1024:

staying in the building, unaffected by tear gas and a multitude of bullets fired at him. After the building is set on fire, Tony is forced to exit, guns blazing. He is sprayed with police gunfire but appears unfazed. Upon noticing the police officer who had been arresting him throughout the film, he fires at him, only to hear a single "click" noise implying his gun is empty. He is killed after the police officer shoots him several times. A repeated clicking noise is heard on the soundtrack implying he was attempting to fire while he was dying.

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a shot shows an "X" on the scoreboard, foreshadowing Gaffney's death. Hawks used the "X" foreshadowing technique throughout the film (seen first in the opening credits) which were chiefly associated with death appearing many times (but not every scene) when a death is portrayed; the motif appears in numerous places, most prominently as Tony's "X" scar on his left cheek. The motifs mock the life of the gangster. The gangster's hat is a common theme throughout gangster films, specifically

1568: 410:. The censors believed the film glorified violence and crime. These changes delayed the film by a year, though some showings retained the original ending. Modern showings of the film have the original ending, though some DVD releases also include the alternate ending as a feature; these versions maintain the changes Hughes and Hawks were required to make for approval by the Hays Office. No completely unaltered version was known to exist until the limited-edition set of 535: 1144:.) Though fairly inconspicuous in the film, and unnoticed by most viewers, the Camonte family was meant to be partially modeled after the Italo-Spanish Borgia family. This was most prominent through the subtle and arguably incestuous relationship Tony Camonte and his sister share. Camonte's excessive jealousy of his sister's affairs with other men hint at this relationship. Coincidentally, Donizetti wrote the opera for 995:

too glorifying. In addition to the violence, the MPPDA felt an inappropriate relationship between the main character and his sister was too overt, especially when he holds her in his arms after he slaps her and tears her dress; they ordered this scene be deleted. Hughes, in order to receive the MPPDA's approval, deleted the more violent scenes, added a prologue to condemn gangsterism, and wrote a new ending.

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for violence mirror's Cesca's lust for sexual freedom, symbolized by her seductive dance for Rinaldo at the club. Rinaldo is split between his loyalty for Tony and his passion for Cesca, serving as a symbol of the power struggle between the Camonte siblings. Rinaldo is a symbol of Tony's power and prominence; his murder signifies Tony's lack of control and downfall, which ends in Tony's own death.

504:, where the bootlegging is controlled by the Irish gangster O'Hara; Lovo refuses, ordering Tony to leave the North Side alone. Tony ignores these orders and starts taking out O'Hara's men while expanding his rackets to the North. Before long, Lovo is only the nominal boss while Tony becomes increasingly notorious and powerful, attracting the attention of both other gangsters and the police. 881:, but Hawks believed Gable was a personality, not an actor. After seeing Paul Muni on Broadway, talent agent Al Rosen suggested him for the lead role. Muni initially declined, feeling he was not physically suited for the role, but after reading the script, his wife, Bella, convinced him to take it. After a test run in New York, Hughes, Hawks, and Hecht approved Muni for the role. 1239:, stating that the violence and subject matter of the film left him with, "the distinct feeling of nausea". He goes on to say the film "should never have been made" and showing the film would "do more harm to the motion picture industry, and everyone connected with it, than any picture ever shown". Although Ben Hecht was often critical of his work for Hollywood, he admitted that 1500:, the ending scene represents how the world is not ours, but not his either. The death of the gangster momentarily releases us from the idea of the concept of success and the need to succeed. In regards to the theme of excess, the sign is a metaphor for the dividing desires created by modernity seen through the lens of the excessive desires of the gangster persona. 757:. Over a game of golf, Hughes promised to drop the lawsuit (irrelevant as it had already been dismissed by the judge), and by the eighteenth hole, Hawks had become interested in directing the film. He became more convinced when he discovered Hecht would be the head writer. Hecht and Hawks worked well together, intending to portray the Capone character as of the 1191:, because the Hays Office acknowledged and appreciated the changes Hughes made to the film. Joy visited state censor boards individually, stating that while the Hays Office was against the positive portrayal of crime, gang films were actually documents against gangster life. Joy was successful and eventually all state and municipal censorship boards allowed 1418:-style scene more comical than serious. His consumption serves to symbolize the disintegration of values of modernity, specifically represented by his poor taste and obsession with money and social status. Tony's excess transcends parody and becomes dangerous because he represents a complete lack of restraint that ultimately leads to his downfall. 1273:'s policy on gangster films was too lax. The film had been banned in Ireland on August 19, 1932, and on August 29, 1941, (under the alternate title of 'Gang War'). The decisions were upheld by the Films Appeal Board each time. It was banned on April 24, 1953, (under its original title). No appeal was lodged. Various reasons include pandering to 1414:

look "kinda effeminate". His feminine consumption and obsession with looks and clothes is juxtaposed by his masculine consumption, which is represented by his new car. Later, Tony shows Poppy a stack of new shirts, claiming he will wear each shirt only once. His awkwardness and ignorance of his own exorbitance make this

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boards rebutted that Hughes was preoccupied with "box-office publicity" in producing the film. After repeated demands for a script rewrite from the Hays Office, Hughes ordered Hawks to shoot the film: "Screw the Hays Office, make it as realistic, and grisly as possible." The Hays Office was outraged by

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as "the quintessential gangster anti-hero" contributed greatly to his rapid ascent into his acclaimed film career. Paul Muni received significant accolades for his performance as Tony Camonte. Critics praised Muni for his robust and fierce performance. Al Pacino stated he was greatly inspired by Paul

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adding noticeably different Italian dialects to specific characters. This version of the dubbed film translates the opening and closing credit scenes as well as the newspaper clippings shown into Italian; however, the translation of the newspaper clippings was not done with particular aesthetic care.

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he expressed through his directing. In the bowling alley scene, where rival gang leader Tom Gaffney was murdered, when Gaffney throws the ball, the shot remains on the last standing bowling pin, which falls to represent the death of kingpin Tom Gaffney. In the same scene, before the death of Gaffney,

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represents the American fears and confusion that stemmed from the technological advancement of the time: whether technological advancement and mass production should be feared or celebrated. An overall anxiety post-World War I was whether new technology would cause ultimate destruction, or whether it

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According to film studies professor Fran Mason, a prominent theme in the film is excess. The opening of the film sets the stage as Big Louie Costillo sits in the remnants of a wild party, convincing his friends his next party will be bigger, better, and have "much more everything". This indicates the

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was "the best-directed picture seen". Hecht did, however, criticize Muni's performance. Having known Al Capone, Hecht claimed that Muni portrayed Capone as too "silent" and "moody", more similar to "Hitler". Some critics disagreed with the casting of British actor Boris Karloff, believing his accent

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music (not visible on the screen or implied to be present in the story) was not used in the film. The only music that appears in the film is during the opening and closing credits and during scenes in the movie where music appears naturally in the film's action such as in the nightclub. Adolf Tandler

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and by adding a foreword condemning "gangsters" in a general sense. Hughes made an attempt to release the film under the title "The Scar" when the original title was disallowed by the Hays office. Besides the title, the term "Scarface" was removed from the film. In the scene where Tony kills Rinaldo,

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Filming lasted six months, which was long for films made in the early 1930s. Howard Hughes remained off-set to avoid interfering with the filming of the movie. Hughes urged Hawks to make the film as visually exciting as possible by adding car chases, crashes, and machine-gun fire. Hawks shot the film

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Cesca slips inside, planning to kill her brother, but can't bring herself to do it. Tony and Cesca arm themselves, and Tony shoots at the police from the window with a Thompson submachine gun, laughing maniacally as he guns them down. Moments later, however, Cesca is killed by a stray bullet. Calling

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The theme of excessiveness is further exemplified by Tony's incestuous desires for his sister, Cesca, whom he attempts to control and restrict. Their mother acts as the voice of reason, but Tony does not listen to her, subjecting his family to the excess and violence he brings upon himself. His lust

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praised Hughes for his courage in opposing the censors. Hughes disowned the censored film and finally, in 1932, released Version A with the added text introduction in states that lacked strict censors (Hughes attempted to take the New York censors to court). This 1932 release version led to bonafide

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violated the Code, because the film elicited sympathy for Muni's character, and it revealed to youth a successful method of crime. The Hays Office called for scenes to be deleted, scenes to be added to condemn gangsterism, and a different ending. They believed Tony's death at the end of the film was

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remake. However, despite the impressive portrayal of a rising gangster, critics claim the character minimally resembled Al Capone. Unlike Camonte, Capone avoided grunt work and typically employed others to do his dirty work for him. Moreover, Muni's Scarface at the end revealed the Capone character

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dubbed the voice of Gunio Rinaldo for George Raft. A difference between the 1947 version and the 1976 version is that all of the Italian names are and Italian cultural references were untouched from the original American script. The 1976 version celebrates the Italian backgrounds of the characters,

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set the visual style for the gangster films of the 1930s. Hawks created a violent, gripping film through his use of strong contrast of black and white in his cinematography. For example, dark rooms, silhouettes of bodies against drawn shades, and pools of carefully placed light. Much of the film is

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Camonte's apartment looks out on a neon, flashing sign that says "The World Is Yours". This sign represents the modern American city as a place of opportunity and individualism. As attractive as the slogan is, the message is impossible, yet Tony does not understand this. The view from his apartment

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Tony's excess is manifested in the gang wars in the city. He is given express instruction to leave O'Hara, Gaffney, and the rest of the North Side gang alone. He disobeys because of his lust for more power, violence, and territory. Not only does he threaten the external power structure of the gangs

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formally denounced the film and other groups urged community members to boycott the film and other films derogatory towards Italians or Italian-Americans. Will Hays wrote to the ambassador in Italy, excusing himself from scrutiny by stating the film was an anachronism because it had been delayed in

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in order to mask Muni's absence in these scenes. The alternate ending (Version B) differs from the original ending in the manner that Tony is caught and in which he dies. Unlike the original ending, where Tony tries to escape from the police and dies after being shot several times, in the alternate

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The original script had Tony's mother loving her son unconditionally, praising his lifestyle, and even accepting money and gifts from him. In addition, there was a politician who, despite campaigning against gangsters on the podium, is shown partying with them after hours. The script ends with Tony

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was filmed and put together quickly. In September 1931, a rough cut of the film was screened for the California Crime Commission and police officials, neither of whom thought the movie was a dangerous influence for audiences or would elicit a criminal response. Irving Thalberg was given an advanced

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in 1983 featuring Al Pacino as Scarface. The film was set in contemporary 1980s Miami in the Hispanic underworld and is known for its inclusion of graphic violence and obscene language, considered "as violent and obscene for the 1980s" as the original film was considered for 1930s cinema. The 2003

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and the film's alternate ending. On video and on television, the film maintains Hawks's original ending but still contains the other alterations he was required to make during filming. A completely unaltered and uncensored version of the film was not known to exist until the limited-edition set of

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in Los Angeles. Filming took three months with the cast and crew working seven days a week. For the most violent scene of the film in the restaurant, Hawks cleared the set to avoid harming extras and had the set fired on by machine guns. The actors acted out the scene in front of a screen with the

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Returning home, Tony learns from his mother, who has often warned him of his bad behavior, that Cesca has moved in with another man and rushes over to find her with Guino. He kills his friend in a jealous rage, and Cesca runs away in tears after revealing that they had just gotten married and were

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was Ann Dvorak's best known film. The film launched Raft's lengthy career as a leading man. Raft, in the film's second lead, had learned to flip a coin without looking at it, a trait of his character, and he made a strong impression in the comparatively sympathetic but colorful role. Howard Hawks

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into Italian. Initially, upon requesting approval from the Italian film office, the request was rejected due to censorship concerns of the portrayal of violence and crime throughout the film. There was no initial concern about the film's portrayal of Italians. Titanus appealed to the Italian film

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The gangster's excessive consumption is comically represented through Tony's quest to obtain expensive goods and show them off. In Tony's first encounter with Poppy alone on the staircase, he boasts about his new suit, jewelry, and bulletproof car. Poppy largely dismisses his advances calling his

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was released in theaters on April 9, 1932. Hughes planned a grand premiere in New York, but New York censor boards rejected the showing of the film. State censorship boards in Ohio, Virginia, Maryland, and Kansas and citywide censorship boards in Detroit, Seattle, Portland, and Chicago banned the

892:) but as he was taller than Muni, Hawks worried he would overshadow Muni's tough Scarface persona. He was replaced with George Raft, a struggling actor at the time, after Hawks encountered him at a prizefight. Raft had played an almost identical part the previous year as his feature film debut in 828:

Ben Hecht had met Capone and "knew a lot about Chicago", so he did no research for the script. According to Hecht, while he worked on the script, Capone sent two men to visit him in Hollywood to make sure the film was not based on Capone's life. He told them the Scarface character was a parody of

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bears little resemblance to the novel. Though the film contains the same major characters, plot points, and incestual undertones, changes were made to reduce the length and the number of characters, and to satisfy the requests of censorship offices. To make gangsters appear less admirable, Tony's

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would help make lives easier and bring happiness. In the film, Tony excitedly revels in the possibilities machine guns can bring by killing more people, more quickly, and from further away. This represents the question of whether or not mass production equals mass destruction or mass efficiency.

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from which the film of the same name was based on; Fred D. Pasley, a prominent Chicago gangland historian; and Ben Hecht, an ex-Chicago reporter. Events similar to the assassination of Jim Colismo and the St. Valentine's Day Massacre contribute to the film's realism and authenticity. Film critic

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in Chicago after premiering Thanksgiving Day, November 20, 1941, after having been banned from showing in Chicago by censors for nine years. Despite the favorable reception of the film among the public, the censorship battles and the unflattering reviews from some press contributed to the film's

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During a night out at the theatre, Tony learns that Gaffney and the remainder of his crew are at a nearby bowling alley. Leaving Angelo behind to watch the rest of the show and report back to him the outcome, Tony personally kills Gaffney. Lovo's anger at Tony finally boils over when Tony openly

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Control of territory is a theme in the gangster film genre in a physical sense and on the movie screen. Tony works to control the city by getting rid of competing gangs and gaining physical control of the city, and he likewise gains control of the movie screen in his rise to power. This is most

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Camonte's rise to prominence and success is modeled after the American Dream, but more overtly violent. As the film follows the rise and fall of an Italian gangster, Tony becomes increasingly more Americanized. When Tony appears from under the towel at the barbershop, this is the first time the

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as "one of the most highly censored films in Hollywood history". Howard Hawks believed the Hays Office had personal vendettas against the movie, while Hughes believed the censorship was due to "ulterior and political motives" of corrupt politicians. However, James Wingate of the New York censor

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Suspecting Lovo's involvement, Tony goes to his office after bribing the local barber to call him and pretend to be part of the hit crew. When Lovo hangs up after claiming that he must have gotten the wrong number, Tony forces him to confess to the hit and then has Guino kill him. Tony, now the

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In addition, a couple of scenes were added to overtly condemn gangsterism, such as a scene in which a newspaper publisher looks at the screen and directly admonishes the government and the public for their lack of action in fighting against mob violence and a scene in which the chief detective

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The film initiated outrage among Italian organizations and individuals of Italian descent, remarking a tendency of filmmakers to portray gangsters and bootleggers in their films as Italian. In the film, an Italian American makes a speech condemning gangster activities; this was added later in

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became Lovo, and Moran became Doran. In some early scripts, Colosimo was Colisimo and O'Bannion was Bannon, but the names were changed to Costillo and O'Hara, respectively. This, including other alterations made to characters and other identifying locations to maintain anonymity, were due to

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flirts and dances with Poppy in front of him at a nightclub. Tony sees his beloved sister Francesca "Cesca" dancing with a stranger at the club; obsessively protective over her, he becomes enraged and hits her. Later that night, some hired gunmen try to assassinate Tony, but he kills them.

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ending, Tony reluctantly hands himself over to the police. After the encounter, Tony's face is not shown. A scene follows where a judge is addressing Tony during sentencing. The next scene is the finale, in which Tony (seen from a bird's eye view) is brought to the gallows and hanged.

519:—which an excited Tony quickly arms his own men with. The war results in Tony’s victory while Gaffney is forced to go into hiding. A group of prominent citizens, including the police chief, vow to bring Tony down for all the carnage and bloodshed he has inflicted on the city. 507:

Meanwhile, Tony pursues Johnny's girlfriend, Poppy. At first, she is dismissive of him but pays him more attention as his status rises, and he starts flaunting his wealth. She visits his "gaudy" apartment where he shows her his view of an electric billboard advertising

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as one of his favorite works, and the film was a subject of pride for Howard Hughes. Hughes locked the film in his vaults a few years after release, refusing many profitable offers to distribute the film or to buy its rights. In 1979, three years after his death,

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box-office status and positive critical reviews. Hughes was successful in subsequent lawsuits against the boards that censored the film. Due to criticism from the press, Hays claimed the version shown in theaters was the censored film he had previously approved.

489:, an Italian immigrant and ambitious low-level thug Tony "Scarface" Camonte works as a bodyguard for crime lord "Big" Louis Costillo. Siding with Costillo's disgruntled lieutenant Johnny Lovo, Tony guns down his boss. Lovo takes over Costillo's territory in the 405:

in 1934, which enforced regulations on film content. However, the Hays Code, a more lenient precursor, called for major alterations, including a prologue condemning gangsters, an alternate ending to more clearly reprehend Camonte, and the alternative title

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represents the rise of the gangster. When Camonte is killed in the street outside his building, the camera pans up to show the billboard, representative of the societal paradox of the existence of opportunity yet the inability to achieve it. According to

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in his flower shop in 1924. The assassination of seven men in a garage, with two of the gunmen costumed as police officers, mirrors the St. Valentine's Day Massacre of 1929. The leader of this rival gang narrowly escapes the shooting, as did gang leader

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shown to take place at night. The tight grouping of subjects within the shot and stalking camera movement followed the course of action in the film. The cinematography is dynamic and characterized by highly varied camera placement and mobile framing.

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as one of the best pictures of 1932. However, at the time of release in 1932, there was a general public outcry about this motion picture and the gangster genre in general, which negatively affected the film's box-office receipts. Jack Alicoate gave

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Despite the clear references to Capone, Capone was rumored to have liked the film so much he owned a print of it. However, this was likely an exaggerated claim by Hawks as Capone was imprisoned in Atlanta for tax evasion during the film's release.

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Audience reception was positive, but censors banned the film in several cities and states, forcing Hughes to remove it from circulation and store it in his vault. The rights to the film were recovered after Hughes's death in the 1970s. Alongside

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The references to Capone and actual events from the Chicago gang wars were obvious to audiences at the time. Muni's character had a scar similar to Capone's, received in similar fights. The police in the film mention Camonte is a member of the

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as having "that powerful and gripping suspense which is in all gangster pictures is in this one in double doses and makes it compelling entertainment", and that the actors play, "as if they'd been doing nothing else all their lives". The

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DVD "Anniversary Edition" limited-edition box set of the 1983 film includes its 1932 counterpart. At the end of the 1983 film, a title reading "This film is dedicated to Howard Hawks and Ben Hecht" appears over the final shot.

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stated that the film "merits...as a sociological or historical document", and "an utterly inexcusable attempt has been made to suppress it—not because it is obscene...but because...it comes too close to telling the truth."

738:, to be head writer. Suspicious of Hughes as an employer, Hecht requested a daily salary of $ 1,000, to be paid every day at six o'clock. Hecht claimed he would only waste a day's labor if Hughes turned out to be a fraud. 1187:. Each state had a different board of censors which allowed Hughes to release the film in areas without strict censorship. At the request of Will Hays, Jason Joy convinced the strict censor boards to allow the release of 1390:

classifies as a film with historical significance or as merely a Hollywood gangster-era motion picture. Its historical significance was augmented by the film's writing credits: W. R. Burnett, author of gangster novel

974:, the chairman of the MPPDA, attempted to regulate the content of movies; the MPPDA became known as the Hays Office. The goal of the Hays Office was to censor nudity, sexuality, drug use, and crime. More specific to 1102:. This tune is accompanied by words that translate to, "What restrains me in such a moment?", and this tune continues to appear during violent scenes in the movie. The song Cesca sings while playing the piano is " 1738:. The studio claims the new film is neither a sequel nor a remake, but will take elements from both the 1932 and the 1983 version, including the basic premise of a man who becomes a kingpin in his quest for the 396:

After purchasing the rights to Trail's novel, Hughes quickly selected Hawks to direct and Hecht to write the film's screenplay. Beginning in January 1931, Hecht wrote the script over an eleven-day period.

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character was made to appear less intelligent and more brutish than in the novel. Similarly, the sibling relationship between Tony and the police officer was removed to avoid depicting police corruption.

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a license. Paul Muni was unable to re-film the ending in 1931 due to his work on Broadway. Consequently, Hawks was forced to use a body double. The body double was mainly filmed by way of shadows and

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Both the film and novel are loosely based upon the life of gangster Al Capone, whose nickname was "Scarface". The names of characters and locations were changed only minimally. Capone became Camonte,

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The film was redubbed in the 1990s and released on Universal's digital edition. According to scholarly consensus, the 1990 dub is a combination of re-voicing and reuse of audio from the 1976 redub.

389:. Camonte's rise to power dovetails with his relentless pursuit of his boss's mistress while his own sister pursues his best hitman. In an overt tie to the life of Capone, a version of the 720:, inspired by the life of Capone. Trail wrote for a number of detective story magazines during the early 1920s, but died of a heart attack at the age of 28, shortly before the release of 1211:, who met Al Capone a few times at casinos, even Capone himself liked the film adding, "you tell 'em that if any of my boys are tossin' coins, they'll be twenty-dollar gold pieces." 546:

planning to surprise him. The police issue a warrant for Tony's arrest; he barricades himself in his home while Angelo is killed trying to protect him in a shootout with the police.

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However, Version B did not pass the New York and Chicago censors. Howard Hughes felt the Hays Office had suspicious intentions in rejecting the film because Hays was friends with

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article stated "his British accent is hardly suitable to the role". However, other critics considered him a high point. The film earned $ 600,000 at the box office, and while

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Hawks and Hughes found casting difficult as most actors were under contract and studios were reluctant to allow their artists to freelance for independent producers. Producer

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to direct and co-produce. This surprised Hawks, as the two had never been friendly; Hughes had filed a lawsuit against Howard Hawks in July 1930, alleging that Hawks's film

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in Brooklyn, of which Capone was a known member. Tony kills his boss "Big Louis" Costillo in the lobby of his club; Capone was involved in the murder of his first boss

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foregoes his "little friend" and packs a different kind of heat, blending stylish visuals, thrilling violence, and an incredible cast." It holds a rating of 90 on

785:

the book contains a barbershop scene with Capone similar to the introduction of Tony Camonte in the film. Pasley was not credited for his work on the screenplay.

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was more financially successful than Hughes's other films at the time, due to the large cost of production, it is unlikely the film did better than break even.

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in which gangster Bull Weed traps himself in his apartment with his lover and fires at the hordes of police outside, and thus was likely a Hecht contribution.

30: 5867:

Cavallero, Jonathan J.; Plasketes, George (2004). "Gangsters, Fessos, Tricksters, and Sopranos: The Historical Roots of Italian American Stereotype Anxiety".

1639:

to be a coward as he pled for mercy and tried to escape before getting shot in the street. Capone was not known for his cowardice and did not die in battle.

947:

screening and was impressed by the film. Despite the positive feedback the film was given, the Hays Office was insistent on changes before final approval.

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The first version of the film (Version A) was completed on September 8, 1931, but censors required the ending be modified or they would refuse to grant

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told Raft to use this in the film to camouflage his lack of acting experience. A reference is made in Raft's later role as gangster Spats Columbo in

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was the last of the three big gangsters films of the early 1930s, as the outrage at the pre-Code violence caused by the three films, particularly

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in May 1980. The film was released on DVD on May 22, 2007, and was released again on August 28, 2012, in celebration of the 100th anniversary of

4635: 1593:) as the archetype of the gangster film genre, because it set the early standard for the genre which continues to appear in Hollywood. However, 4298: 2315: 939:

shooting projected in the back, so as everyone crowded under the tables in the restaurant, the room appeared to be simultaneously under fire.

850:. The film opens at the intersection of 22nd Street and Wabash Avenue in the middle of Capone's South Side, the site of many Capone's crimes. 7900: 4835:

Danks, Adrian (2016). "'Ain't There Anyone Here for Love?' Space, Place and Community in the Cinema of Howard Hawks". In Brookes, Ian (ed.).

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to star, but dismissed Ayer because his script was too violent. In 2018, Fuqua was back on the project, but left again in May 2020. Instead,

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Hecht wrote the screenplay over eleven days in January 1931, adapted from Trail's novel. Additional writing was provided by Fred Pasley and

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ran an issue urging the people to demand to see the film at theaters despite the censorship bans. The film broke box-office records at the

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Because there were five writers, it is difficult to distinguish which components were contributed by which writer; however, the ending of

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to escape the police and media attention, while Cesca secretly visits Guino at Tony's office and seduces him. The two began an affair.

4321: 1667:, who was thought to be responsible for the St. Valentine's Massacre depicted in the film, was murdered by rivals in a bowling alley. 7895: 7850: 4539: 7910: 7855: 7654: 4432: 999:

denounces the glorification of gangsters. Hawks refused to shoot the extra scenes and the alternate ending. They were directed by

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and has Tony and his associates, the dim-witted Angelo and the handsome playboy Guino "Little Boy" Rinaldo, supervise a lucrative

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Tony finally gets rid of O'Hara. O'Hara's successor, Tom Gaffney, declares war on the South Side and attempts to kill Tony with

6269: 5768: 5085: 1618:, which sparked the 1983 remake starring Al Pacino. Though rare for a remake, the 1983 version was also critically acclaimed. 7815: 7296: 5915: 5200: 4165: 1684: 967: 5516: 5300: 5147:"'The Italian Color': Race, Crime Iconography and Dubbing Conventions in the Italian-language Versions of "Scarface" (1932)" 1183:

film as well. Hughes threatened to sue censorship boards for preventing the release of his film much to the approval of the

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Boris Karloff was cast as Irish gangster Gaffney, listed on a theatrical release poster as "Boris 'Frankenstein' Karloff".

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as being "culturally, historically, or aesthetically significant". The character of Tony Camonte ranked at number 47 on

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was one of the most discussed films of 1932 due to its subject matter and its struggle and triumph over censor boards.

1360:—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. 3569: 5778: 5757: 5601: 5554: 5526: 5465: 5376: 5095: 5046: 4894: 4844: 4783: 4671: 4624: 4405: 4200: 1277:, glamorizing the gangster lifestyle and implying an incestuous relationship between the protagonist and his sister. 390: 3216: 2990: 7875: 7740: 6350: 6326: 6130: 5544: 672: 5839:

Yogerst, Chris (June 20, 2017). "Hughes, Hawks, and Hays: The Monumental Censorship Battle Over Scarface (1932)".

1293:, Howard Hughes removed the film from circulation. The film remained unavailable until 1979 except for occasional 7885: 7800: 7708: 7184: 7077: 6992: 6160: 4512: 2859: 7825: 7504: 7480: 7416: 5728: 5427: 5310: 5268: 4942: 4802: 4745: 4645: 4459: 4160: 1280:

Several cities in the United States, including Chicago, and some states refused to show the film. The magazine

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Osgood Perkins as John "Johnny" Lovo and Paul Muni as Antonio "Tony" Camonte in a scene from the film's trailer

402: 1130:". The play opened on Broadway in 1922 and ran throughout the 1920s. (A film version of the play, also titled 381:

Antonio "Tony" Camonte who violently rises through the Chicago gangland, with a supporting cast that includes

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superior to all other films in the genre. He was advised against making the film, as the genre was crowded;

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Majumdar, Gaurav (2004). ""I Can't See": Sovereignty, Oblique Vision, and the Outlaw in Hawks's Scarface".

5640:

Springhall, John (2004). "Censoring Hollywood: Youth, moral panic and crime/gangster movies of the 1930s".

1269:

permanently prohibited showings of the film. Some cities in England banned the film as well, believing the

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and to win a petition presented to the Superior Court to be able to sign on with Howard Hawks as a minor.

761:, including the suggestion of incest between the main character and his sister, present in Trail's novel. 7579: 7432: 7192: 6641: 6542: 6494: 6438: 6382: 6358: 6194: 1297:

of suspect quality from questionable sources. Hughes had plans in 1933 to direct and produce a sequel to

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production for two years and was not representative of the current practice of censorship at the time.

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claimed nothing new could be done with the gangster genre. Furthermore, industry censors such as the

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In October 1946, after World War II and the relations between Italy and the United States softened,

1256:

production to appease censors. This, however, did not prevent the Italian embassy from disapproving

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America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry

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may have had an influence on actual gangster life four years after the film was released. In 1936,

1223: 1073: 724:. Hughes hired Fred Pasley, a New York reporter and authority on Capone, as a writer. Hughes asked 516: 7890: 4106: 3047: 2926: 2040: 7810: 7640: 7288: 7038: 6945: 6846: 6715: 6671: 3565: 3520: 1746:

was in talks to direct the remake, but left the project the following year in February, with the

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numerous people, and that the title was chosen as it was intriguing. The two left Hecht alone.

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During filming, Hawks and Hughes met with the Hays Office to discuss revisions. Despite that,

7732: 7520: 7424: 7368: 7360: 7256: 7240: 7069: 6814: 6605: 6510: 6255: 6154: 5985: 5484: 5414: 5355: 5287: 5002: 4281: 2045: 1487:, George Raft was instructed to repetitively flip a coin, which he does throughout the film. 927: 630: 5367:

Neale, Steve (2016). "Gestures, Movements and Actions in Rio Bravo". In Brookes, Ian (ed.).

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to clarify the subject of the film; after months of haggling, he compromised with the title

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Smyth, J.E. (2004). "Revisioning modern American history in the age of "Scarface" (1932)".

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served as the orchestra's conductor. Gus Arnheim and his Cocoanut Grove Orchestra perform "

681: 661:, then involved in film-making, wanted a box-office hit after the success of his 1931 film 509: 459: 422: 412: 4486:"Universal's 'Scarface' Reboot Loses Director David Ayer (Exclusive) | Hollywood Reporter" 1652:(1959), wherein he asks a fellow gangster (who is flipping a coin) "Where did you pick up 1348: 1308:

holds a 98% rating, with an average rating of 8.7/10. The critics' consensus reads: "This

1003:, earning Rosson the title of "co-director". Hughes was instructed to change the title to 8: 7795: 7756: 7528: 7464: 7448: 7392: 7304: 7264: 7109: 6987: 6742: 6676: 6137: 4971:

Grønstad, Asbjørn (2003). "Mean Streets: Death and Disfiguration in Hawks's 'Scarface'".

4690: 1774: 1601:, sparked the creation of the Production Code Administration in 1934. Howard Hawks cited 1333: 1123: 1098: 909:

Though Karen Morley was under contract at MGM, Hawks was close with MGM studio executive

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generally poor performance at the box-office. Upset at the inability to make money from

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After battling with censorship offices, the film was released around a year later than

1127: 1081: 966:(PCA) on July 1, 1934. Before the influence of the PCA, censorship was overseen by the 959: 888:

was cast as Tony Camonte's sidekick Guino Rinaldo (modeled after Al Capone's bodyguard

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Hagemann, E.R. (1984). "Scarface: The Art of Hollywood, Not "The Shame of a Nation"".

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undisputed kingpin of the city's underworld, takes Poppy on an expensive vacation to

6001: 5990: 5686:"Foreign Parts: Hollywood's Global Distribution and the Representative of Ethnicity" 5126:

The Movie Treasury Gangster Movies: Gangsters, Hoodlums and Tough Guys of the Screen

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Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema 1930-1934

1020:

Cesca says the word "murderer", but she can be seen mouthing the word "Scarface".

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The serious play Tony and his friends go to see, leaving at the end of Act 2, is

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in 1920. Rival boss O'Hara is murdered in his flower shop; Capone's men murdered

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operation selling illegal beer to all of the bars there and forcing out rivals.

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Roberts, Marilyn (2006). "Scarface, The Great Gatsby, and the American Dream".

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list. The film was named the best American sound film by critic and director

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Universal announced in 2011 that the studio is developing a new version of

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is regarded as one of the most significant and influential gangster films.

347: 145: 63: 47: 5938: 4322:"Al Pacino, Brian de Palma reflect on legacy of "Scarface" 35 years later" 1726:

were obtained after the death of Howard Hughes, Brian de Palma released a

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After the Silents: Hollywood Film Music in the Early Sound Era, 1926–1934

4294: 4040:"'Scarface' Reunion: 10 Things we Learned at Tribeca Film Festival Event" 2058: 1804:

than its early 1930s gangster film contemporaries because of its excess.

1664: 1548: 1543:(RAI). Franco Dal Cer translated the script, and the dub was directed by 1471: 1208: 1069: 885: 878: 704: 576: 494: 382: 207: 150: 6014: 5968: 5593:

Reconstructing American Historical Cinema: From Cimarron to Citizen Kane

5405:

Pauly, Thomas H. (1974). "Film: What's Happened to the Western Movie?".

5386:

Parish, James Robert; Pitts, Michael R. (1976). Taylor, T. Allan (ed.).

4406:"'Scarface' Remake Casts its Tony Montana, 'Rogue One' Actor Diego Luna" 3782: 3718: 1207:

At the time of release, audiences were generally positive. According to

825:

censorship and Hawks's concern about the overuse of historical details.

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McElhaney, Joe (Spring–Summer 2006). "Howard Hawks: American Gesture".

5090:. Jefferson, North Carolina: McFarland & Company, Inc. p. 52. 3465: 2002:"Remembering Ben Hecht, the first Oscar winner for original screenplay" 1755: 1751: 1537:

The film was redubbed into Italian in 1976 by the broadcasting company

1470:

The use of playful motifs throughout the film showcased Howard Hawks's

1415: 1313: 1077: 862: 847: 570: 171: 135: 4994: 1157: 512:, which features the slogan which inspires him: "The World Is Yours". 7320: 7054: 2851: 1037: 914: 889: 725: 676: 564: 463: 371: 367: 355: 130: 78: 5907:

Gangster mythology in Howard Hawks' "Scarface - Shame of the nation"

1938: 6613: 6020: 5715:

Freedom and Entertainment: Rating the Movies in an Age of New Media

1762:

has signed to direct the film, with the script from Coen brothers.

1525:, an Italian film production company was interested in translating 1364:

was acknowledged as the sixth best in the gangster film genre. The

1260:. Believing the film to be offensive to the Italian community, the 1064: 551: 5020:. Artigues-pres-Bordeaux: Editions Henri Veyrier. pp. 48–52. 707:

were becoming concerned with the glamorization of crime in media.

534: 6581: 4286: 3075: 3073: 3071: 3069: 2050: 1711: 1522: 1301:, but due to stricter censorship rules, the film was never made. 675:, and Hughes wanted to make a film based on the life of gangster 528: 486: 6626: 5278:

Mate, Ken; McGilligan, Pat; White, Dennis L. (1983). "Burnett".

5153:(Ideological Manipulation in Audiovisual Translation): 107–123. 4433:"Looks Like Antoine Fuqua May Be Directing 'Scarface' After All" 1483:. Hawks included hand gestures, a common motif in his films. In 781:

was based. Pasley's contributions included elements of the book

474: 5521:. Pompton Plains, New Jersey: Limelight Editions. p. 261. 5432:(Revised ed.). Associated University Presses. p. 46. 4952:

Grieveson, Lee; Sonnet, Esther; Stanfield, Peter, eds. (2005).

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the only film to make the same "10 Top 10" list as its remake.

1195:

to be released, accepting only the cut and censored version of

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Hollywood Censored: Morality Codes, Catholics, and the Movies

3372:. Charles E. Lewis. Showmen's Trade Review. November 29, 1941 2680: 2678: 7023: 3130: 3128: 2141: 2139: 1088:

in the nightclub. The tune Tony whistles in the film is the

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Mob Culture: Hidden Histories of the American Gangster Film

3947: 3899: 3262: 2921: 2077: 2023: 2021: 2019: 5696:. Washington & London: Smithsonian Institution Press. 4714:. Cambridge, UK: Cambridge University Press. p. 126. 3877: 3875: 3873: 2675: 2617:"Howard Hawks' Scarface and the Hollywood Production Code" 2410: 2408: 1634:

Muni, and Muni influenced his own performance in the 1983

5596:. Lexington, Kentucky: The University Press of Kentucky. 4460:"Coen Brothers to Polish Script for 'Scarface' Reimaging" 4205:, Universal Studios Home Entertainment, August 28, 2012, 3125: 3028: 2804: 2136: 1973: 1863: 1675:

The film was one of the first films released on video by

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Hollywood Gangland: The Movies' Love Affair with the Mob

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Willys Theatre Presenting Ben Hecht's Tales of the City

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Major Film Directors of the American and British Cinema

5390:. Metuchen, NJ: The Scarecrow Press, Inc. p. 347. 4816:

Crime Movies: From Griffith to the Godfather and Beyond

4619:. Madison: University of Wisconsin Press. p. 111. 4232: 3935: 3923: 3911: 3887: 3870: 3858: 3822: 3810: 3742: 3730: 3696: 3694: 3681: 3679: 3677: 3662: 3652: 3650: 3635: 3279: 3277: 3234: 3152: 2884: 2882: 2723: 2721: 2563: 2561: 2437: 2435: 2405: 2393: 2365: 2199: 2089: 4062: 3706: 3542: 3289: 2776: 2706: 2597: 2211: 2175: 1841: 1839: 1837: 1687:. Both versions of the DVD include an introduction by 1304:

Based on a sampling of 46 reviews on Rotten Tomatoes,

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based on 12 reviews, indicating "universal acclaim".

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when they screened it. According to the Hays Office,

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Motion Pictures Producers and Distributors of America

7662: 5549:. New York: Columbia University Press. p. 229. 4574: 4562: 4220: 4086: 3846: 3770: 3691: 3674: 3647: 3623: 3596: 3274: 3140: 3101: 2879: 2733: 2718: 2558: 2432: 2420: 2353: 5460:. Lexington, KT: The University Press of Kentucky. 5277: 5170:. Westport, CT: Greenwood Press. pp. 227–228. 4143:Bierbaum, Tom (February 6, 1990). "Mixed Reviews". 2635: 1963: 1907: 1851: 1834: 1551:dubbed the voice of Tony Camonte for Paul Muni and 1328:was selected for preservation in the United States 636:

Harry J. Vejar as "Big" Louis Costillo (uncredited)

6277: 5866: 5712: 5689: 5662: 5256: 5123: 5106: 4878: 4855: 4813: 4682: 4513:"Antoine Fuqua Back in Talks to Direct 'Scarface'" 4074: 3348:"Shall the Movies Take Orders from the Underworld" 2816: 2530: 2518: 1702:(1983) was released on October 15, 2019. In 2024, 1610:, which controlled his estate, sold the rights to 1140:, was released by United Artists the same year as 458:as the sixth-best gangster film. It was remade as 2899: 2897: 1490: 7787: 5719:. New York: Cambridge University Press. p. 5613:Historical Journal of Film, Radio and Television 793:rewrote the script for continuity and dialogue. 5500:. New York: Checkmark Books. pp. 258–259. 5168:A Guide to American Crime Films of the Thirties 4956:. New Brunswick, NJ: Rutgers University Press. 4617:United Artists: The Company Built by the Stars 4347:. The Washington Post Company. Washington Post 4269: 2894: 1577:Despite being unsuccessful at the box office, 1154:from where Tony Camonte's whistle tune comes. 671:were topical in the early 1930s in the age of 7648: 7039: 6642: 6263: 6047: 5007:: CS1 maint: DOI inactive as of April 2024 ( 4735: 4634:Barlett, Donald L.; Steele, James B. (1979). 4633: 4540:"Luca Guadagnino to Direct 'Scarface' Reboot" 3256: 2991:"A Romantic Sensation: 'Lucia Di Lammermoor'" 2453: 2083: 2033: 1901: 1885: 1068:served as the film's musical director, while 5514: 4793:Brown, Peter Harry; Broeske, Pat H. (1996). 4792: 4379:"New 'Scarface' In Development At Universal" 4021: 1881: 1750:rewriting the script. Universal later hired 1516: 401:was produced before the introduction of the 5515:Silver, Alain; Ursini, James, eds. (2007). 5385: 5214:. Ann Arbor, Michigan: UMI Research Press. 5165: 5083: 4759:. New York: Citadel Press. pp. 21–24. 4740:. Secaucus, New Jersey: The Citadel Press. 3764: 3514:"AFI's 100 Years...100 Heroes and Villains" 3079: 3034: 2309: 2268: 1869: 7861:United States National Film Registry films 7655: 7641: 7046: 7032: 6649: 6635: 6270: 6256: 6054: 6040: 5639: 5038:Predicting Movie Success at the Box Office 4913: 4754: 4736:Bojarski, Richard; Beale, Kenneth (1974). 4689:. New York: Simon & Schuster. p. 4345:"'Scarface': Carrying Some Excess Baggage" 4127: 3410:. The Hollywood Reporter. January 27, 1933 3408:"Hughes Will Produce Sequel to 'Scarface'" 3268: 3252: 3196:. The Hollywood Reporter. January 21, 1933 3134: 2852:"Scarface: The Shame of the Nation (1932)" 2552: 1925: 1897: 1339:AFI's 100 Years... 100 Heroes and Villains 800:is similar to Hecht's first gangster film 730:Academy Award for Best Original Screenplay 500:Tony urges Lovo to start moving in on the 29: 5819: 5770:George Raft - The Man Who Would Be Bogart 5345: 5113:. New York: Simon and Schuster. pp. 5087:Killer Tomatoes: Fifteen Tough Film Dames 5041:. Cham, Switzerland: Palgrave Macmillan. 4984: 3800: 3488:"Complete National Film Registry Listing" 3327:. Dublin, Ireland: Trinity College Dublin 3158: 2917:"Cinema: The New Pictures: Apr. 18, 1932" 2484:"Why Stars Stop Being Stars: George Raft" 2465: 2399: 550:Cesca's name as the apartment fills with 416:(1983) was released on October 15, 2019. 5924: 5425: 5298: 5184: 5062: 4970: 4680: 4661: 4605: 4142: 3981: 3816: 3760: 3748: 3370:""Scarface" Breaks Record on "Premiere"" 3240: 3214: 3095: 3091: 2810: 2383: 2371: 2217: 2205: 1620: 1566: 1156: 861: 783:Al Capone: Biography of a Self-Made Man; 533: 473: 5903: 5838: 5794: 5766: 5474: 5457:Ann Dvorak: Hollywood's Forgotten Rebel 5326: 5302:Howard Hawks: The Grey Fox of Hollywood 5144: 5121: 4862:. New York: Columbia University Press. 4853: 4811: 4773: 4640:. New York: W.W. Norton & Company. 4403: 4131: 4104: 4068: 3969: 3965: 3953: 3941: 3929: 3917: 3905: 3893: 3881: 3864: 3828: 3712: 3390: 3307: 3295: 3022: 2798: 2770: 2755: 2712: 2700: 2696: 2684: 2653: 2603: 2579: 2548: 2387: 2313: 2297: 2256: 2169: 2157: 2145: 2130: 2110: 1991: 1790:(1931). According to Fran Mason of the 1465: 1244:was out of place in a gangster film; a 699:were already box-office successes, and 7788: 5869:Journal of Popular Film and Television 5747: 5710: 5660: 5542: 5495: 5209: 5034: 5015: 4932: 4601:. McFarland & Company. p. 24. 4430: 4365: 4342: 4209:from the original on February 28, 2013 4037: 4025: 4009: 4005: 3993: 3840: 3789:Grieveson, Sonnet & Stanfield 2005 3725:Grieveson, Sonnet & Stanfield 2005 3548: 2939: 2903: 2862:from the original on December 31, 2017 2834: 2751: 2669: 2567: 2441: 2426: 2414: 2274:"How Did Big Jim Colosimo Get Killed?" 2126: 2095: 1995: 1979: 1109: 7636: 7027: 6630: 6251: 6035: 5750:Sin in Soft Focus: Pre-Code Hollywood 5692:Movie Censorship and American Culture 5683: 5610: 5589: 5570: 5404: 5366: 5263:. New York: Oxford University Press. 5228: 5166:Langman, Larry; Finn, Daniel (1995). 5104: 4876: 4834: 4707: 4637:Howard Hughes: His Life & Madness 4614: 4596: 4580: 4568: 4537: 4510: 4457: 4301:from the original on January 18, 2017 4238: 4226: 4181:from the original on January 13, 2017 4166:Universal Pictures Home Entertainment 4092: 3852: 3804: 3776: 3736: 3700: 3685: 3668: 3656: 3641: 3629: 3617: 3602: 3590: 3572:from the original on January 16, 2013 3394: 3345: 3283: 3146: 3119: 3107: 2988: 2888: 2873: 2838: 2794: 2782: 2739: 2727: 2657: 2641: 2359: 2193: 2181: 2122: 2065:from the original on January 18, 2017 2027: 1999: 1967: 1913: 1857: 1845: 1685:Universal Pictures Home Entertainment 1453: 1444: 1319: 1027: 906:role would catapult Raft to stardom. 272: 7901:Cultural depictions of Johnny Torrio 5795:Warshow, Robert (March–April 1954). 5773:. Albany, Georgia: BearManor Media. 5498:Encyclopedia of Pulp Fiction Writers 5453: 5254: 5188:Ben Hecht: The man behind the legend 4431:Gracie, Bianca (February 26, 2018). 4404:Freeman, Thomas (January 31, 2017). 4080: 2976: 2822: 2591: 2536: 2524: 2512: 2500: 2481: 2469: 1772:released in the early 1930s such as 7871:Films with screenplays by Ben Hecht 5742:scarface 1983 critically acclaimed. 5654:10.1111/j.0022-3840.1998.3203_135.x 4935:Godard on Godard: Critical Writings 4511:Kroll, Justin (February 26, 2018). 4458:Kroll, Justin (February 10, 2017). 3325:Irish Film & TV Research Online 2229: 1939:"Scarface: The Shame of the Nation" 1714:release for November of that year. 958:was produced and filmed during the 13: 7921:English-language crime drama films 7831:Films about dysfunctional families 5860: 5084:Hagen, Ray; Wagner, Laura (2004). 5077:10.1111/j.0022-3840.1984.1801_30.x 4319: 2989:Scott, Bruce (September 9, 2011). 2482:Vagg, Stephen (February 9, 2020). 2316:"The St. Valentine's Day Massacre" 1930: 1614:, along with seven other films to 732:in 1929 for his silent crime film 14: 7932: 7906:Cultural depictions of Bugs Moran 6656: 5962: 5688:. In Couvares, Francis G. (ed.). 5371:. London: Palgrave. p. 110. 5212:Ben Hecht: Hollywood Screenwriter 5130:. London: Octopus Books Limited. 4973:Nordic Journal of English Studies 4820:. Toronto: George J. McLeod Ltd. 4550:from the original on May 16, 2020 4107:"That Old Feeling: Hot and Heavy" 3215:Alicoate, Jack (April 14, 1932). 2000:Kogan, Rick (February 25, 2016). 1964:Mate, McGilligan & White 1983 1945:. American Movie Classics Company 1936: 1429: 1063:Due to the film's urban setting, 1017:Scarface: The Shame of the Nation 815: 330:Scarface: The Shame of the Nation 7896:Cultural depictions of Al Capone 7851:Films directed by Richard Rosson 6131:Scarface: Money. Power. Respect. 5797:"Movie Chronicle: The Westerner" 5331:. New York: St. Martin's Press. 5240:. New York: Palgrave Macmillan. 4839:. London: Palgrave. p. 46. 4610:. London: Cassell & Company. 4531: 4504: 4478: 4451: 4424: 4397: 4371: 4359: 4336: 4313: 4244: 4193: 4153: 4136: 4121: 4098: 4038:Leight, Elias (April 20, 2018). 4031: 4015: 3999: 3959: 3794: 3754: 3554: 3506: 3480: 3350:. No. April. Movie Classics 2925:. April 18, 1932. Archived from 1717: 1368:version was placed 10th, making 1271:British Board of Film Censorship 7911:Italian-language American films 7856:Films produced by Howard Hughes 6993:Howard Hughes Medical Institute 6161:Scarface (Push It to the Limit) 5841:The Journal of American Culture 5669:. Secaucus, NJ: Citadel Press. 5231:American Gangster Cinema: From 4885:. New York: Continuum. p. 4795:Howard Hughes: The Untold Story 4590: 4324:. CBS Interactive Inc. CBS News 4046:. Rolling Stone. Archived from 3453: 3422: 3400: 3384: 3362: 3339: 3313: 3246: 3208: 3186: 3164: 3085: 3040: 2982: 2970: 2945: 2909: 2844: 2828: 2788: 2745: 2690: 2647: 2609: 2542: 2475: 2459: 2377: 2303: 2262: 2250: 2223: 2116: 1985: 1957: 1768:is often associated with other 1150:, about the Borgia family, and 603:as Police Inspector Ben Guarino 460:the 1983 film of the same title 7846:Films directed by Howard Hawks 7841:Films based on American novels 7821:American black-and-white films 5642:The Journal of Popular Culture 5369:Howard Hawks: New Perspectives 5210:Martin, Jeffrey Brown (1985). 5065:The Journal of Popular Culture 4837:Howard Hawks: New Perspectives 4776:Howard Hawks: New Perspectives 4662:Benyahia, Sarah Casey (2012). 4538:Kroll, Justin (May 14, 2020). 3194:"The National Board of Review" 2335:"St. Valentine's Day Massacre" 2232:"7 Infamous Gangs of New York" 1919: 1891: 1875: 1814: 1262:Order Sons of Italy in America 964:Production Code Administration 926:at three different locations: 652: 627:as Mrs. Camonte, Tony's Mother 391:Saint Valentine's Day Massacre 1: 7053: 5927:CR: The New Centennial Review 5145:Keating, Carla Mereu (2016). 4666:. Abingdon, Oxon: Routledge. 3321:"Irish Film Censors' Records" 2341:. A&E Television Networks 2238:. A&E Television Networks 1830:. January 5, 1932. p. 6. 1807: 1670: 1161:Promotional card for the film 950: 647: 579:as Guino "Little Boy" Rinaldo 538:Paul Muni in the trailer for 7816:1930s English-language films 6807:The Sin of Harold Diddlebock 6124:Scarface: The World Is Yours 6061: 6009:AFI Catalog of Feature Films 5824:. McGraw-Hill Book Company. 4918:. Lester and Orpen Limited. 2997:. National Public Radio, Inc 1798:is more similar to the film 1625:1940 Re-release newspaper ad 1202: 866:Paul Muni and Ann Dvorak in 741:Hughes wanted film director 710:Hughes bought the rights to 573:as Francesca "Cesca" Camonte 7: 7497:The Hunchback of Notre Dame 5625:10.1080/0143968042000293865 5388:The Great Gangster Pictures 4916:The Five Lives of Ben Hecht 4755:Bookbinder, Robert (1985). 4685:Capone: The Man and the Era 4681:Bergreen, Laurence (1994). 1629:Paul Muni's performance in 1375: 898:, a gangster film starring 362:first published in 1930 by 10: 7937: 7806:American crime drama films 7062:Films written and directed 6184:Music Inspired by Scarface 5665:Howard Hughes in Hollywood 5426:Phillips, Gene D. (1999). 5185:MacAdams, William (1990). 4997:(inactive April 16, 2024). 4937:. New York: Viking Press. 4774:Brookes, Ian, ed. (2016). 4738:The Films of Boris Karloff 4708:Black, Gregory D. (1994). 4606:Ashbrook, William (1965). 4519:. Penske Media Corporation 4466:. Penske Media Corporation 4291:Turner Broadcasting System 4171:Universal City, California 2055:Turner Broadcasting System 1540:Radio Televisione Italiana 1508:"Sharp" and "hard-edged", 1433: 1379: 1165: 920: 857: 764: 642:as Man on Bed (uncredited) 350:and produced by Hawks and 7671: 7598: 7547: 7128: 7061: 7013:Howard Hughes Corporation 6964: 6922:The Amazing Howard Hughes 6913: 6734: 6707: 6664: 6289: 6226: 6193: 6147: 6115: 6088: 6069: 5820:Yablonsky, Lewis (1974). 5477:Literature/Film Quarterly 5407:Western Humanities Review 5348:Journal of Film and Video 5305:. New York: Grove Press. 5259:Howard Hawks, storyteller 5016:Guerif, Francois (1979). 4933:Godard, Jean Luc (1972). 4914:Fetherling, Doug (1977). 4490:www.hollywoodreporter.com 4105:Corliss, Richard (2001). 3257:Bojarski & Beale 1974 2454:Bojarski & Beale 1974 2084:Barlett & Steele 1979 1902:Barlett & Steele 1979 1886:Barlett & Steele 1979 1754:to direct and contracted 1562: 1517:Italian-language versions 1404: 960:pre-Code era of Hollywood 751:had plagiarized his film 567:as Antonio "Tony" Camonte 312: 304: 287: 279: 263: 240: 230: 216: 195: 185: 164: 123: 104: 87: 56: 40: 35:Theatrical release poster 28: 23: 16:1932 film by Howard Hawks 7401:The Miracle of the Bells 6558:Gentlemen Prefer Blondes 5904:Klemens, Nadine (2006). 5748:Vieria, Mark A. (2003). 5711:Vaughn, Stephen (2006). 5575:. London: Virgin Books. 5543:Slowik, Michael (2014). 5454:Rice, Christina (2013). 4908:Harry J. Vejar scarface. 4854:Doherty, Thomas (1999). 4812:Clarens, Carlos (1980). 4599:The Films of George Raft 4256:The Criterion Collection 4022:Silver & Ursini 2007 3217:""Scarface"...a mistake" 2621:Theater, Film, and Video 2278:National Crime Syndicate 1882:Brown & Broeske 1996 1792:University of Winchester 1704:The Criterion Collection 1691:host and film historian 1503: 1386:Scholars debate whether 1224:National Board of Review 1118:and Clemence Randolph's 1058: 728:, who had won the first 366:, which was inspired by 7876:American gangster films 7417:Where the Sidewalk Ends 6847:Two Tickets to Broadway 6672:Hughes Aircraft Company 6551:The Ransom of Red Chief 5881:10.3200/JPFT.32.2.49-73 5767:Wallace, Stone (2015). 5299:McCarthy, Todd (1997). 5159:10.13130/2035-7680/6851 5122:Hossent, Harry (1974). 5035:Gunter, Barrie (2018). 4597:Aaker, Everett (2013). 3765:Langman & Finn 1995 3566:American Film Institute 3521:American Film Institute 3174:. Variety. May 24, 1932 3080:Langman & Finn 1995 3054:. Turner Classic Movies 3035:Hagen & Wagner 2004 2957:The Library of Congress 2310:Langman & Finn 1995 2269:Langman & Finn 1995 1870:Parish & Pitts 1976 1481:conspicuous consumption 1479:, as representative of 1354:American Film Institute 1185:New York Herald Tribune 1051:New York Herald Tribune 557: 469: 452:American Film Institute 249:April 9, 1932 7886:Films set in the 1920s 7801:1932 crime drama films 7297:It's a Wonderful World 6527:I Was a Male War Bride 6455:Only Angels Have Wings 5327:McCarty, John (1993). 5109:A Child of the Century 5018:Le Film Noir Americain 4877:Eagan, Daniel (2010). 4757:Classic Gangster Films 1626: 1574: 1330:National Film Registry 1162: 981:J. E. Smyth described 870: 777:, upon which the film 773:, author of the novel 633:as Chief of Detectives 542: 479: 444:National Film Registry 358:, is based loosely on 7826:Films about Al Capone 7733:West Point of the Air 7377:Her Husband's Affairs 7241:The Florentine Dagger 7185:Hallelujah, I'm a Bum 7070:Crime Without Passion 6815:The Tattooed Stranger 6799:Behind the Rising Sun 6590:Man's Favorite Sport? 5939:10.1353/ncr.2004.0024 5661:Thomas, Tony (1985). 5255:Mast, Gerald (1982). 4282:Turner Classic Movies 2656:, pp. 1–2, 101; 2046:Turner Classic Movies 1943:Filmsite Movie Review 1722:After the rights for 1689:Turner Classic Movies 1624: 1585:is cited (often with 1570: 1235:a scathing review in 1160: 865: 597:as John "Johnny" Lovo 537: 477: 408:The Shame of a Nation 354:. The screenplay, by 339:) is a 1932 American 336:The Shame of a Nation 7916:1930s American films 7881:Films set in Chicago 7866:United Artists films 7836:Films about siblings 7741:Behind the Headlines 7580:Ladies and Gentlemen 7513:Queen of Outer Space 7102:Angels Over Broadway 6980:Howard R. Hughes Sr. 6694:Trans World Airlines 6566:Land of the Pharaohs 6495:To Have and Have Not 6327:A Girl in Every Port 5684:Vasey, Ruth (1996). 5590:Smyth, J.E. (2006). 5518:Gangster Film Reader 5496:Server, Lee (2002). 5229:Mason, Fran (2002). 5191:. Scribner. p. 4797:. New York: Dutton. 4778:. London: Palgrave. 4615:Balio, Tino (2009). 4385:. September 21, 2011 4343:Chaney, Jen (2006). 3094:, pp. 500–501; 2929:on October 18, 2011. 2699:, pp. 134–144; 2312:, pp. 227–228; 2271:, pp. 227–228; 1801:The Roaring Twenties 1770:pre-code crime films 1491:"The World Is Yours" 1466:Objects and gestures 1352:. In June 2008, the 928:Metropolitan Studios 807:The film version of 615:as Publisher Garston 7465:Miracle in the Rain 7393:Ride the Pink Horse 7305:Lady of the Tropics 7265:The Goldwyn Follies 7201:Turn Back the Clock 7110:Specter of the Rose 7078:Once in a Blue Moon 6988:Hughes Tool Company 6863:The Las Vegas Story 6743:Two Arabian Knights 5752:. Harry N. Abrams. 5571:Smith, Jim (2004). 5105:Hecht, Ben (1954). 4439:. Complex Media Inc 3956:, pp. 118–119. 3908:, pp. 113–114. 3492:Library of Congress 3346:Donaldson, Robert. 3122:, pp. 130–131. 3082:, pp. 227–228. 2687:, pp. 134–144. 2196:, pp. 78, 380. 2030:, pp. 486–487. 1982:, pp. 258–259. 1775:The Doorway to Hell 1334:Library of Congress 1152:Lucia di Lammermoor 1128:Miss Sadie Thompson 1124:W. Somerset Maugham 1110:Cultural references 1104:Wreck of the Old 97 1099:Lucia di Lammermoor 1009:Shame of the Nation 448:Library of Congress 7685:Blonde or Brunette 7663:Films directed by 7537:7 Faces of Dr. Lao 7521:Billy Rose's Jumbo 7505:The Sun Also Rises 7489:Legend of the Lost 7481:A Farewell to Arms 7473:The Iron Petticoat 7457:The Indian Fighter 7129:Films written only 6699:Hughes Helicopters 5986:TCM Movie Database 5853:10.1111/jacc.12710 3803:, pp. 31–45; 3767:, pp. 227–228 3255:, pp. 23–24; 3098:, pp. 399–400 2148:, pp. 43, 67. 2041:"Scareface (1932)" 1728:remake of the film 1627: 1616:Universal Pictures 1575: 1454:Fear of technology 1445:Gangster territory 1398:Robert E. Sherwood 1320:Industry reception 1163: 1082:Some of These Days 1028:Alternative ending 970:(MPPDA). In 1930, 871: 839:"Big Jim" Colosimo 687:Edward G. Robinson 621:as Managing Editor 543: 480: 7783: 7782: 7630: 7629: 7564:Twentieth Century 7409:Perfect Strangers 7281:Wuthering Heights 7233:Twentieth Century 7209:Design for Living 7169:The Unholy Garden 7021: 7020: 7008:Summa Corporation 6984: 6976: 6954:Rules Don't Apply 6930:Melvin and Howard 6831:His Kind of Woman 6624: 6623: 6431:The Road to Glory 6407:Twentieth Century 6367:The Criminal Code 6351:Trent's Last Case 6295:The Road to Glory 6245: 6244: 5917:978-3-638-47698-0 5202:978-0-684-18980-2 5071:(Summer): 30–40. 4995:10.35360/njes.143 4546:. United States. 4412:. Maxim Media Inc 4277:"Scarface (1983)" 4252:"Scarface (1932)" 4241:, pp. 44–45. 4175:Universal Studios 4161:"Scarface (1932)" 4109:. Time, Inc. Time 3739:, pp. 23–24. 3671:, pp. 26–27. 3644:, pp. 25–26. 3568:. June 17, 2008. 3562:"AFI's 10 Top 10" 3530:on August 7, 2011 3461:"Scarface (1932)" 3430:"Scarface (1932)" 3271:, pp. 23–24. 2953:"SCARFACE (1932)" 2813:, pp. 30–40. 2785:, pp. 43–44. 2594:, pp. 58–59. 2515:, pp. 3, 53. 2503:, pp. 52–53. 2456:, pp. 68–69. 2417:, pp. 48–52. 2322:. Chicago Tribune 2184:, pp. 75–77. 2098:, pp. 71–72. 2004:. Chicago Tribune 1681:Universal Studios 1677:MCA Videocassette 1608:Summa Corporation 1349:Cahiers du Cinéma 1094:Gaetano Donizetti 1074:Saint Louis Blues 934:Studios, and the 442:was added to the 376:Italian immigrant 370:. The film stars 320: 319: 225:The Caddo Company 7928: 7709:Dead Man's Curve 7657: 7650: 7643: 7634: 7633: 7289:Let Freedom Ring 7161:Roadhouse Nights 7153:The Unholy Night 7048: 7041: 7034: 7025: 7024: 6982: 6974: 6651: 6644: 6637: 6628: 6627: 6447:Bringing Up Baby 6311:Cradle Snatchers 6272: 6265: 6258: 6249: 6248: 6056: 6049: 6042: 6033: 6032: 5958: 5921: 5900: 5856: 5835: 5816: 5814: 5812: 5791: 5789: 5787: 5763: 5744: 5739: 5737: 5718: 5707: 5695: 5680: 5668: 5657: 5636: 5607: 5586: 5567: 5565: 5563: 5539: 5537: 5535: 5511: 5492: 5471: 5450: 5448: 5446: 5422: 5401: 5382: 5363: 5342: 5323: 5321: 5319: 5295: 5274: 5262: 5251: 5225: 5206: 5181: 5162: 5141: 5129: 5118: 5112: 5101: 5080: 5059: 5057: 5055: 5031: 5012: 5006: 4998: 4988: 4967: 4948: 4929: 4910: 4905: 4903: 4884: 4873: 4861: 4850: 4831: 4819: 4808: 4789: 4770: 4751: 4732: 4730: 4728: 4704: 4688: 4677: 4658: 4656: 4654: 4630: 4611: 4602: 4584: 4578: 4572: 4566: 4560: 4559: 4557: 4555: 4535: 4529: 4528: 4526: 4524: 4508: 4502: 4501: 4499: 4497: 4482: 4476: 4475: 4473: 4471: 4455: 4449: 4448: 4446: 4444: 4428: 4422: 4421: 4419: 4417: 4401: 4395: 4394: 4392: 4390: 4375: 4369: 4363: 4357: 4356: 4354: 4352: 4340: 4334: 4333: 4331: 4329: 4317: 4311: 4310: 4308: 4306: 4273: 4267: 4266: 4264: 4262: 4248: 4242: 4236: 4230: 4224: 4218: 4217: 4216: 4214: 4197: 4191: 4190: 4188: 4186: 4177:. 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Archived from 3518: 3510: 3504: 3503: 3501: 3499: 3484: 3478: 3477: 3475: 3473: 3457: 3451: 3450: 3448: 3446: 3426: 3420: 3419: 3417: 3415: 3404: 3398: 3397:, pp. 44–45 3388: 3382: 3381: 3379: 3377: 3366: 3360: 3359: 3357: 3355: 3343: 3337: 3336: 3334: 3332: 3317: 3311: 3305: 3299: 3293: 3287: 3281: 3272: 3266: 3260: 3250: 3244: 3238: 3232: 3231: 3229: 3227: 3212: 3206: 3205: 3203: 3201: 3190: 3184: 3183: 3181: 3179: 3168: 3162: 3156: 3150: 3144: 3138: 3132: 3123: 3117: 3111: 3105: 3099: 3089: 3083: 3077: 3064: 3063: 3061: 3059: 3044: 3038: 3032: 3026: 3020: 3007: 3006: 3004: 3002: 2986: 2980: 2974: 2968: 2967: 2965: 2963: 2949: 2943: 2937: 2931: 2930: 2913: 2907: 2901: 2892: 2886: 2877: 2871: 2869: 2867: 2856:www.filmsite.org 2848: 2842: 2832: 2826: 2820: 2814: 2808: 2802: 2792: 2786: 2780: 2774: 2768: 2759: 2749: 2743: 2737: 2731: 2725: 2716: 2710: 2704: 2694: 2688: 2682: 2673: 2667: 2661: 2651: 2645: 2639: 2633: 2632: 2630: 2628: 2613: 2607: 2601: 2595: 2589: 2583: 2577: 2571: 2565: 2556: 2555:, pp. 21–24 2546: 2540: 2534: 2528: 2522: 2516: 2510: 2504: 2498: 2492: 2491: 2479: 2473: 2463: 2457: 2451: 2445: 2439: 2430: 2424: 2418: 2412: 2403: 2397: 2391: 2381: 2375: 2369: 2363: 2357: 2351: 2350: 2348: 2346: 2331: 2329: 2327: 2307: 2301: 2295: 2289: 2288: 2286: 2284: 2266: 2260: 2254: 2248: 2247: 2245: 2243: 2227: 2221: 2215: 2209: 2203: 2197: 2191: 2185: 2179: 2173: 2167: 2161: 2155: 2149: 2143: 2134: 2120: 2114: 2108: 2099: 2093: 2087: 2081: 2075: 2074: 2072: 2070: 2037: 2031: 2025: 2014: 2013: 2011: 2009: 1989: 1983: 1977: 1971: 1961: 1955: 1954: 1952: 1950: 1934: 1928: 1923: 1917: 1911: 1905: 1895: 1889: 1879: 1873: 1867: 1861: 1855: 1849: 1843: 1832: 1831: 1818: 1787:The Public Enemy 1649:Some Like It Hot 1591:The Public Enemy 1172:The Public Enemy 835:Five Points Gang 692:The Public Enemy 657:Business tycoon 429:The Public Enemy 256: 254: 33: 21: 20: 7936: 7935: 7931: 7930: 7929: 7927: 7926: 7925: 7786: 7785: 7784: 7779: 7667: 7661: 7631: 7626: 7594: 7543: 7433:Monkey Business 7313:His Girl Friday 7225:Shoot the Works 7145:The Great Gabbo 7124: 7118:Actor's and Sin 7057: 7052: 7022: 7017: 6960: 6914:Popular culture 6909: 6879:The French Line 6775:Cock of the Air 6759:The Mating Call 6730: 6703: 6660: 6655: 6625: 6620: 6543:Monkey Business 6463:His Girl Friday 6439:Come and Get It 6383:The Crowd Roars 6359:The Dawn Patrol 6285: 6276: 6246: 6241: 6235:Scarface Nation 6222: 6189: 6143: 6111: 6084: 6065: 6060: 5997:Rotten Tomatoes 5965: 5918: 5910:. GRIN Verlag. 5863: 5861:Further reading 5832: 5810: 5808: 5801:Partisan Review 5785: 5783: 5781: 5760: 5735: 5733: 5731: 5704: 5677: 5604: 5583: 5561: 5559: 5557: 5533: 5531: 5529: 5508: 5468: 5444: 5442: 5440: 5398: 5379: 5339: 5317: 5315: 5313: 5271: 5248: 5222: 5203: 5178: 5151:Altre Modernita 5138: 5098: 5053: 5051: 5049: 5028: 5000: 4999: 4986:10.1.1.524.2093 4964: 4945: 4926: 4901: 4899: 4897: 4870: 4847: 4828: 4805: 4786: 4767: 4748: 4726: 4724: 4722: 4701: 4674: 4652: 4650: 4648: 4627: 4593: 4588: 4587: 4579: 4575: 4567: 4563: 4553: 4551: 4536: 4532: 4522: 4520: 4509: 4505: 4495: 4493: 4492:. July 12, 2017 4484: 4483: 4479: 4469: 4467: 4456: 4452: 4442: 4440: 4429: 4425: 4415: 4413: 4402: 4398: 4388: 4386: 4383:Huffington Post 4377: 4376: 4372: 4364: 4360: 4350: 4348: 4341: 4337: 4327: 4325: 4318: 4314: 4304: 4302: 4275: 4274: 4270: 4260: 4258: 4250: 4249: 4245: 4237: 4233: 4225: 4221: 4212: 4210: 4199: 4198: 4194: 4184: 4182: 4159: 4158: 4154: 4141: 4137: 4128:Fetherling 1977 4126: 4122: 4112: 4110: 4103: 4099: 4091: 4087: 4079: 4075: 4067: 4063: 4053: 4051: 4050:on May 26, 2018 4036: 4032: 4020: 4016: 4008:, p. 171; 4004: 4000: 3992: 3988: 3980: 3976: 3964: 3960: 3952: 3948: 3940: 3936: 3928: 3924: 3916: 3912: 3904: 3900: 3892: 3888: 3880: 3871: 3863: 3859: 3851: 3847: 3839: 3835: 3827: 3823: 3815: 3811: 3799: 3795: 3787: 3783: 3775: 3771: 3759: 3755: 3747: 3743: 3735: 3731: 3727:, pp. 1–2. 3723: 3719: 3711: 3707: 3699: 3692: 3684: 3675: 3667: 3663: 3655: 3648: 3640: 3636: 3628: 3624: 3616: 3609: 3601: 3597: 3589: 3585: 3575: 3573: 3560: 3559: 3555: 3547: 3543: 3533: 3531: 3527: 3516: 3512: 3511: 3507: 3497: 3495: 3486: 3485: 3481: 3471: 3469: 3459: 3458: 3454: 3444: 3442: 3435:Rotten Tomatoes 3428: 3427: 3423: 3413: 3411: 3406: 3405: 3401: 3389: 3385: 3375: 3373: 3368: 3367: 3363: 3353: 3351: 3344: 3340: 3330: 3328: 3319: 3318: 3314: 3306: 3302: 3294: 3290: 3282: 3275: 3269:Bookbinder 1985 3267: 3263: 3253:Bookbinder 1985 3251: 3247: 3239: 3235: 3225: 3223: 3213: 3209: 3199: 3197: 3192: 3191: 3187: 3177: 3175: 3170: 3169: 3165: 3157: 3153: 3145: 3141: 3135:Springhall 2004 3133: 3126: 3118: 3114: 3106: 3102: 3090: 3086: 3078: 3067: 3057: 3055: 3046: 3045: 3041: 3033: 3029: 3021: 3010: 3000: 2998: 2987: 2983: 2975: 2971: 2961: 2959: 2951: 2950: 2946: 2938: 2934: 2915: 2914: 2910: 2902: 2895: 2887: 2880: 2865: 2863: 2850: 2849: 2845: 2837:, pp. 75; 2833: 2829: 2821: 2817: 2809: 2805: 2793: 2789: 2781: 2777: 2769: 2762: 2750: 2746: 2738: 2734: 2726: 2719: 2711: 2707: 2695: 2691: 2683: 2676: 2668: 2664: 2652: 2648: 2640: 2636: 2626: 2624: 2615: 2614: 2610: 2606:, pp. 1–2. 2602: 2598: 2590: 2586: 2578: 2574: 2566: 2559: 2553:Bookbinder 1985 2551:, p. 107; 2547: 2543: 2535: 2531: 2523: 2519: 2511: 2507: 2499: 2495: 2480: 2476: 2464: 2460: 2452: 2448: 2440: 2433: 2425: 2421: 2413: 2406: 2398: 2394: 2386:, p. 132; 2382: 2378: 2370: 2366: 2358: 2354: 2344: 2342: 2333: 2325: 2323: 2320:Chicago Tribune 2314:O'Brien, John. 2308: 2304: 2296: 2292: 2282: 2280: 2272: 2267: 2263: 2255: 2251: 2241: 2239: 2230:Andrews, Evan. 2228: 2224: 2216: 2212: 2204: 2200: 2192: 2188: 2180: 2176: 2168: 2164: 2156: 2152: 2144: 2137: 2125:, p. 552; 2121: 2117: 2109: 2102: 2094: 2090: 2082: 2078: 2068: 2066: 2039: 2038: 2034: 2026: 2017: 2007: 2005: 1990: 1986: 1978: 1974: 1962: 1958: 1948: 1946: 1935: 1931: 1926:Springhall 2004 1924: 1920: 1912: 1908: 1898:Springhall 2004 1896: 1892: 1880: 1876: 1868: 1864: 1856: 1852: 1844: 1835: 1820: 1819: 1815: 1810: 1760:Luca Guadagnino 1720: 1673: 1573: 1572:1932 Lobby card 1565: 1545:Giulio Panicali 1530:office calling 1519: 1506: 1493: 1468: 1456: 1447: 1438: 1432: 1407: 1384: 1378: 1344:Jean-Luc Godard 1322: 1205: 1168: 1147:Lucrezia Borgia 1112: 1061: 1030: 953: 923: 875:Irving Thalberg 860: 818: 791:Seton I. Miller 767: 748:The Dawn Patrol 655: 650: 645: 601:C. Henry Gordon 560: 472: 450:. In 2008, the 446:in 1994 by the 403:Production Code 327:(also known as 300: 270: 266: 259: 252: 250: 243: 226: 221: 219: 212: 181: 160: 119: 96: 83: 74:Seton I. Miller 52: 36: 17: 12: 11: 5: 7934: 7924: 7923: 7918: 7913: 7908: 7903: 7898: 7893: 7888: 7883: 7878: 7873: 7868: 7863: 7858: 7853: 7848: 7843: 7838: 7833: 7828: 7823: 7818: 7813: 7811:Censored films 7808: 7803: 7798: 7781: 7780: 7778: 7777: 7773:Corvette K-225 7769: 7761: 7753: 7745: 7737: 7729: 7721: 7713: 7705: 7697: 7693:Shootin' Irons 7689: 7681: 7672: 7669: 7668: 7665:Richard Rosson 7660: 7659: 7652: 7645: 7637: 7628: 7627: 7625: 7624: 7616: 7609: 7602: 7600: 7596: 7595: 7593: 7592: 7588:A Flag Is Born 7584: 7576: 7568: 7560: 7556:The Front Page 7551: 7549: 7545: 7544: 7542: 7541: 7533: 7525: 7517: 7509: 7501: 7493: 7485: 7477: 7469: 7461: 7453: 7445: 7437: 7429: 7421: 7413: 7405: 7397: 7389: 7381: 7373: 7365: 7361:The Black Swan 7357: 7349: 7341: 7333: 7325: 7317: 7309: 7301: 7293: 7285: 7277: 7269: 7261: 7257:Nothing Sacred 7253: 7245: 7237: 7229: 7221: 7213: 7205: 7197: 7189: 7181: 7173: 7165: 7157: 7149: 7141: 7132: 7130: 7126: 7125: 7123: 7122: 7114: 7106: 7098: 7090: 7082: 7074: 7065: 7063: 7059: 7058: 7051: 7050: 7043: 7036: 7028: 7019: 7018: 7016: 7015: 7010: 7005: 7000: 6995: 6990: 6985: 6977: 6968: 6966: 6962: 6961: 6959: 6958: 6950: 6942: 6934: 6926: 6917: 6915: 6911: 6910: 6908: 6907: 6899: 6891: 6883: 6875: 6867: 6859: 6851: 6843: 6835: 6827: 6819: 6811: 6803: 6795: 6787: 6779: 6771: 6767:The Front Page 6763: 6755: 6747: 6738: 6736: 6735:Films produced 6732: 6731: 6729: 6728: 6720: 6711: 6709: 6708:Films directed 6705: 6704: 6702: 6701: 6696: 6691: 6689:Hughes Airwest 6686: 6681: 6674: 6668: 6666: 6662: 6661: 6654: 6653: 6646: 6639: 6631: 6622: 6621: 6619: 6618: 6610: 6602: 6594: 6586: 6578: 6570: 6562: 6554: 6547: 6539: 6531: 6523: 6519:A Song Is Born 6515: 6507: 6499: 6491: 6483: 6475: 6467: 6459: 6451: 6443: 6435: 6427: 6419: 6411: 6403: 6395: 6387: 6379: 6371: 6363: 6355: 6347: 6343:The Air Circus 6339: 6331: 6323: 6315: 6307: 6299: 6290: 6287: 6286: 6279:Films directed 6275: 6274: 6267: 6260: 6252: 6243: 6242: 6240: 6239: 6230: 6228: 6224: 6223: 6221: 6220: 6218:Alejandro Sosa 6215: 6213:Elvira Hancock 6210: 6205: 6199: 6197: 6191: 6190: 6188: 6187: 6180: 6179: 6178: 6171: 6164: 6151: 6149: 6145: 6144: 6142: 6141: 6134: 6127: 6119: 6117: 6113: 6112: 6110: 6109: 6101: 6092: 6090: 6086: 6085: 6083: 6082: 6073: 6071: 6067: 6066: 6059: 6058: 6051: 6044: 6036: 6030: 6029: 6026:Review of film 6023: 6012: 6011: 5999: 5988: 5977: 5964: 5963:External links 5961: 5960: 5959: 5933:(1): 211–226. 5922: 5916: 5901: 5862: 5859: 5858: 5857: 5847:(2): 134–144. 5836: 5831:978-0070722354 5830: 5817: 5792: 5779: 5764: 5758: 5745: 5729: 5708: 5703:978-1560986683 5702: 5681: 5676:978-0806509709 5675: 5658: 5648:(3): 135–154. 5637: 5619:(4): 535–563. 5608: 5602: 5587: 5582:978-0753508381 5581: 5573:Gangster Films 5568: 5555: 5540: 5527: 5512: 5507:978-0816045778 5506: 5493: 5472: 5466: 5451: 5439:978-0934223591 5438: 5423: 5402: 5397:978-0810808812 5396: 5383: 5377: 5364: 5354:(1–2): 31–45. 5343: 5338:978-0312093068 5337: 5324: 5311: 5296: 5275: 5269: 5252: 5247:978-0333674529 5246: 5226: 5221:978-0835715713 5220: 5207: 5201: 5182: 5177:978-0313295324 5176: 5163: 5142: 5137:978-0706403701 5136: 5119: 5102: 5096: 5081: 5060: 5047: 5032: 5027:978-2851992062 5026: 5013: 4968: 4963:978-0813535562 4962: 4949: 4943: 4930: 4925:978-0919630857 4924: 4911: 4895: 4874: 4869:978-0231110945 4868: 4851: 4845: 4832: 4827:978-0393009408 4826: 4809: 4803: 4790: 4784: 4771: 4766:978-0806514673 4765: 4752: 4746: 4733: 4721:978-0521452991 4720: 4705: 4700:978-0671744564 4699: 4678: 4672: 4659: 4646: 4631: 4625: 4612: 4603: 4592: 4589: 4586: 4585: 4573: 4561: 4530: 4503: 4477: 4450: 4423: 4396: 4370: 4358: 4335: 4312: 4268: 4243: 4231: 4219: 4192: 4152: 4135: 4130:, p. 96; 4120: 4097: 4085: 4073: 4061: 4030: 4024:, p. 261; 4014: 3998: 3986: 3984:, p. 387. 3974: 3958: 3946: 3944:, p. 117. 3934: 3932:, p. 116. 3922: 3920:, p. 115. 3910: 3898: 3896:, p. 113. 3886: 3884:, p. 112. 3869: 3867:, p. 111. 3857: 3845: 3833: 3831:, p. 191. 3821: 3809: 3801:McElhaney 2006 3793: 3791:, p. 173. 3781: 3769: 3753: 3741: 3729: 3717: 3705: 3690: 3673: 3661: 3646: 3634: 3622: 3620:, p. 558. 3607: 3595: 3593:, p. 535. 3583: 3553: 3551:, p. 204. 3541: 3505: 3494:. Congress.gov 3479: 3452: 3421: 3399: 3383: 3361: 3338: 3312: 3300: 3298:, p. 109. 3288: 3286:, p. 218. 3273: 3261: 3245: 3243:, p. 154. 3233: 3221:The Film Daily 3207: 3185: 3163: 3159:Yablonsky 1974 3151: 3149:, p. 131. 3139: 3137:, p. 139. 3124: 3112: 3110:, p. 130. 3100: 3084: 3065: 3039: 3027: 3008: 2981: 2969: 2944: 2942:, p. 229. 2932: 2908: 2893: 2891:, p. 557. 2878: 2843: 2827: 2815: 2803: 2797:, p. 80; 2787: 2775: 2760: 2754:, p. 75; 2744: 2742:, p. 111. 2732: 2730:, p. 126. 2717: 2715:, p. 150. 2705: 2689: 2674: 2672:, p. 130. 2662: 2646: 2634: 2608: 2596: 2584: 2572: 2557: 2541: 2529: 2517: 2505: 2493: 2474: 2468:, p. 64; 2466:Yablonsky 1974 2458: 2446: 2431: 2419: 2404: 2400:Yablonsky 1974 2392: 2376: 2374:, p. 128. 2364: 2362:, p. 554. 2352: 2302: 2290: 2261: 2249: 2222: 2210: 2208:, p. 132. 2198: 2186: 2174: 2162: 2150: 2135: 2129:, p. 71; 2115: 2100: 2088: 2076: 2032: 2015: 1998:, p. 70; 1994:, p. 84; 1984: 1972: 1966:, p. 61; 1956: 1929: 1918: 1916:, p. 261. 1906: 1890: 1884:, p. 73; 1874: 1872:, p. 347. 1862: 1860:, p. 192. 1850: 1848:, p. 111. 1833: 1812: 1811: 1809: 1806: 1740:American Dream 1719: 1716: 1693:Robert Osborne 1672: 1669: 1656:cheap trick?" 1655: 1571: 1564: 1561: 1518: 1515: 1505: 1502: 1498:Robert Warshow 1492: 1489: 1467: 1464: 1455: 1452: 1446: 1443: 1436:American dream 1431: 1430:American Dream 1428: 1406: 1403: 1382:Gangster films 1377: 1374: 1321: 1318: 1295:release prints 1282:Movie Classics 1275:sensationalism 1246:New York Times 1237:The Film Daily 1204: 1201: 1167: 1164: 1111: 1108: 1086:Shelton Brooks 1060: 1057: 1046:Louis B. Mayer 1029: 1026: 1001:Richard Rosson 952: 949: 922: 919: 895:Quick Millions 859: 856: 843:Dean O'Bannion 817: 816:Ties to Capone 814: 787:John Lee Mahin 766: 763: 712:Armitage Trail 669:Gangster films 664:The Front Page 654: 651: 649: 646: 644: 643: 637: 634: 628: 622: 619:Tully Marshall 616: 610: 604: 598: 595:Osgood Perkins 592: 591:as Tom Gaffney 586: 580: 574: 568: 561: 559: 556: 471: 468: 364:Armitage Trail 318: 317: 314: 310: 309: 306: 302: 301: 299: 298: 295: 291: 289: 285: 284: 281: 277: 276: 267: 264: 261: 260: 258: 257: 246: 244: 241: 238: 237: 235:United Artists 232: 231:Distributed by 228: 227: 224: 222: 217: 214: 213: 211: 210: 205: 199: 197: 193: 192: 190:Edward Curtiss 187: 183: 182: 180: 179: 177:L.W. O'Connell 174: 168: 166: 165:Cinematography 162: 161: 159: 158: 153: 148: 143: 141:Osgood Perkins 138: 133: 127: 125: 121: 120: 118: 117: 112: 108: 106: 102: 101: 99:Armitage Trail 89: 85: 84: 82: 81: 76: 71: 69:John Lee Mahin 66: 60: 58: 54: 53: 51: 50: 44: 42: 38: 37: 34: 26: 25: 15: 9: 6: 4: 3: 2: 7933: 7922: 7919: 7917: 7914: 7912: 7909: 7907: 7904: 7902: 7899: 7897: 7894: 7892: 7889: 7887: 7884: 7882: 7879: 7877: 7874: 7872: 7869: 7867: 7864: 7862: 7859: 7857: 7854: 7852: 7849: 7847: 7844: 7842: 7839: 7837: 7834: 7832: 7829: 7827: 7824: 7822: 7819: 7817: 7814: 7812: 7809: 7807: 7804: 7802: 7799: 7797: 7794: 7793: 7791: 7775: 7774: 7770: 7767: 7766: 7762: 7759: 7758: 7754: 7751: 7750: 7746: 7743: 7742: 7738: 7735: 7734: 7730: 7727: 7726: 7722: 7719: 7718: 7714: 7711: 7710: 7706: 7703: 7702: 7698: 7695: 7694: 7690: 7687: 7686: 7682: 7679: 7678: 7674: 7673: 7670: 7666: 7658: 7653: 7651: 7646: 7644: 7639: 7638: 7635: 7622: 7621: 7617: 7615: 7614: 7610: 7607: 7604: 7603: 7601: 7597: 7590: 7589: 7585: 7582: 7581: 7577: 7574: 7573: 7569: 7566: 7565: 7561: 7558: 7557: 7553: 7552: 7550: 7548:Plays written 7546: 7539: 7538: 7534: 7531: 7530: 7526: 7523: 7522: 7518: 7515: 7514: 7510: 7507: 7506: 7502: 7499: 7498: 7494: 7491: 7490: 7486: 7483: 7482: 7478: 7475: 7474: 7470: 7467: 7466: 7462: 7459: 7458: 7454: 7451: 7450: 7446: 7443: 7442: 7438: 7435: 7434: 7430: 7427: 7426: 7422: 7419: 7418: 7414: 7411: 7410: 7406: 7403: 7402: 7398: 7395: 7394: 7390: 7387: 7386: 7385:Kiss of Death 7382: 7379: 7378: 7374: 7371: 7370: 7366: 7363: 7362: 7358: 7355: 7354: 7350: 7347: 7346: 7342: 7339: 7338: 7334: 7331: 7330: 7326: 7323: 7322: 7318: 7315: 7314: 7310: 7307: 7306: 7302: 7299: 7298: 7294: 7291: 7290: 7286: 7283: 7282: 7278: 7275: 7274: 7270: 7267: 7266: 7262: 7259: 7258: 7254: 7251: 7250: 7249:Barbary Coast 7246: 7243: 7242: 7238: 7235: 7234: 7230: 7227: 7226: 7222: 7219: 7218: 7214: 7211: 7210: 7206: 7203: 7202: 7198: 7195: 7194: 7190: 7187: 7186: 7182: 7179: 7178: 7174: 7171: 7170: 7166: 7163: 7162: 7158: 7155: 7154: 7150: 7147: 7146: 7142: 7139: 7138: 7134: 7133: 7131: 7127: 7120: 7119: 7115: 7112: 7111: 7107: 7104: 7103: 7099: 7096: 7095: 7094:Soak the Rich 7091: 7088: 7087: 7086:The Scoundrel 7083: 7080: 7079: 7075: 7072: 7071: 7067: 7066: 7064: 7060: 7056: 7049: 7044: 7042: 7037: 7035: 7030: 7029: 7026: 7014: 7011: 7009: 7006: 7004: 7003:Melvin Dummar 7001: 6999: 6996: 6994: 6991: 6989: 6986: 6981: 6978: 6973: 6970: 6969: 6967: 6963: 6956: 6955: 6951: 6948: 6947: 6943: 6940: 6939: 6938:The Rocketeer 6935: 6932: 6931: 6927: 6924: 6923: 6919: 6918: 6916: 6912: 6905: 6904: 6900: 6897: 6896: 6895:The Conqueror 6892: 6889: 6888: 6887:Son of Sinbad 6884: 6881: 6880: 6876: 6873: 6872: 6871:Second Chance 6868: 6865: 6864: 6860: 6857: 6856: 6852: 6849: 6848: 6844: 6841: 6840: 6839:The Whip Hand 6836: 6833: 6832: 6828: 6825: 6824: 6820: 6817: 6816: 6812: 6809: 6808: 6804: 6801: 6800: 6796: 6793: 6792: 6788: 6785: 6784: 6780: 6777: 6776: 6772: 6769: 6768: 6764: 6761: 6760: 6756: 6753: 6752: 6748: 6745: 6744: 6740: 6739: 6737: 6733: 6726: 6725: 6721: 6718: 6717: 6716:Hell's Angels 6713: 6712: 6710: 6706: 6700: 6697: 6695: 6692: 6690: 6687: 6685: 6682: 6680: 6679: 6675: 6673: 6670: 6669: 6667: 6663: 6659: 6658:Howard Hughes 6652: 6647: 6645: 6640: 6638: 6633: 6632: 6629: 6616: 6615: 6611: 6608: 6607: 6603: 6600: 6599: 6598:Red Line 7000 6595: 6592: 6591: 6587: 6584: 6583: 6579: 6576: 6575: 6571: 6568: 6567: 6563: 6560: 6559: 6555: 6552: 6548: 6545: 6544: 6540: 6537: 6536: 6532: 6529: 6528: 6524: 6521: 6520: 6516: 6513: 6512: 6508: 6505: 6504: 6503:The Big Sleep 6500: 6497: 6496: 6492: 6489: 6488: 6484: 6481: 6480: 6476: 6473: 6472: 6471:Sergeant York 6468: 6465: 6464: 6460: 6457: 6456: 6452: 6449: 6448: 6444: 6441: 6440: 6436: 6433: 6432: 6428: 6425: 6424: 6420: 6417: 6416: 6415:Barbary Coast 6412: 6409: 6408: 6404: 6401: 6400: 6399:Today We Live 6396: 6393: 6392: 6388: 6385: 6384: 6380: 6377: 6376: 6372: 6369: 6368: 6364: 6361: 6360: 6356: 6353: 6352: 6348: 6345: 6344: 6340: 6337: 6336: 6332: 6329: 6328: 6324: 6321: 6320: 6316: 6313: 6312: 6308: 6305: 6304: 6300: 6297: 6296: 6292: 6291: 6288: 6284: 6280: 6273: 6268: 6266: 6261: 6259: 6254: 6253: 6250: 6237: 6236: 6232: 6231: 6229: 6225: 6219: 6216: 6214: 6211: 6209: 6206: 6204: 6201: 6200: 6198: 6196: 6192: 6186: 6185: 6181: 6176: 6175:She's on Fire 6172: 6169: 6165: 6162: 6158: 6157: 6156: 6153: 6152: 6150: 6146: 6140: 6139: 6135: 6133: 6132: 6128: 6126: 6125: 6121: 6120: 6118: 6114: 6107: 6106: 6102: 6099: 6098: 6094: 6093: 6091: 6087: 6080: 6079: 6075: 6074: 6072: 6068: 6064: 6057: 6052: 6050: 6045: 6043: 6038: 6037: 6034: 6027: 6024: 6022: 6018: 6017: 6013: 6010: 6007: 6005: 6004: 6000: 5998: 5994: 5993: 5989: 5987: 5983: 5982: 5978: 5976: 5972: 5971: 5967: 5966: 5956: 5952: 5948: 5944: 5940: 5936: 5932: 5928: 5923: 5919: 5913: 5909: 5908: 5902: 5898: 5894: 5890: 5886: 5882: 5878: 5874: 5870: 5865: 5864: 5854: 5850: 5846: 5842: 5837: 5833: 5827: 5823: 5818: 5806: 5802: 5798: 5793: 5782: 5780:9781593931230 5776: 5772: 5771: 5765: 5761: 5759:9780810982284 5755: 5751: 5746: 5743: 5732: 5726: 5722: 5717: 5716: 5709: 5705: 5699: 5694: 5693: 5687: 5682: 5678: 5672: 5667: 5666: 5659: 5655: 5651: 5647: 5643: 5638: 5634: 5630: 5626: 5622: 5618: 5614: 5609: 5605: 5603:9780813124063 5599: 5595: 5594: 5588: 5584: 5578: 5574: 5569: 5558: 5556:9780231535502 5552: 5548: 5547: 5541: 5530: 5528:9780879103323 5524: 5520: 5519: 5513: 5509: 5503: 5499: 5494: 5490: 5486: 5482: 5478: 5473: 5469: 5467:9780813144269 5463: 5459: 5458: 5452: 5441: 5435: 5431: 5430: 5424: 5420: 5416: 5412: 5408: 5403: 5399: 5393: 5389: 5384: 5380: 5378:9781844575411 5374: 5370: 5365: 5361: 5357: 5353: 5349: 5344: 5340: 5334: 5330: 5325: 5314: 5308: 5304: 5303: 5297: 5293: 5289: 5285: 5281: 5276: 5272: 5266: 5261: 5260: 5253: 5249: 5243: 5239: 5236: 5233:Little Caesar 5232: 5227: 5223: 5217: 5213: 5208: 5204: 5198: 5194: 5190: 5189: 5183: 5179: 5173: 5169: 5164: 5160: 5156: 5152: 5148: 5143: 5139: 5133: 5128: 5127: 5120: 5116: 5111: 5110: 5103: 5099: 5097:9780786418831 5093: 5089: 5088: 5082: 5078: 5074: 5070: 5066: 5061: 5050: 5048:9783319718033 5044: 5040: 5039: 5033: 5029: 5023: 5019: 5014: 5010: 5004: 4996: 4992: 4987: 4982: 4978: 4974: 4969: 4965: 4959: 4955: 4950: 4946: 4940: 4936: 4931: 4927: 4921: 4917: 4912: 4909: 4898: 4896:9780826418494 4892: 4888: 4883: 4882: 4875: 4871: 4865: 4860: 4859: 4852: 4848: 4846:9781844575411 4842: 4838: 4833: 4829: 4823: 4818: 4817: 4810: 4806: 4800: 4796: 4791: 4787: 4785:9781844575411 4781: 4777: 4772: 4768: 4762: 4758: 4753: 4749: 4743: 4739: 4734: 4723: 4717: 4713: 4712: 4706: 4702: 4696: 4692: 4687: 4686: 4679: 4675: 4673:9780415581417 4669: 4665: 4660: 4649: 4643: 4639: 4638: 4632: 4628: 4626:9780299230043 4622: 4618: 4613: 4609: 4604: 4600: 4595: 4594: 4583:, p. 24. 4582: 4577: 4571:, p. 59. 4570: 4565: 4549: 4545: 4541: 4534: 4518: 4514: 4507: 4496:September 28, 4491: 4487: 4481: 4465: 4461: 4454: 4438: 4434: 4427: 4411: 4407: 4400: 4384: 4380: 4374: 4368:, p. xii 4367: 4362: 4346: 4339: 4323: 4316: 4300: 4296: 4292: 4288: 4284: 4283: 4278: 4272: 4257: 4253: 4247: 4240: 4235: 4229:, p. 45. 4228: 4223: 4208: 4204: 4203: 4196: 4180: 4176: 4172: 4168: 4167: 4162: 4156: 4149:. p. 78. 4148: 4147: 4146:Daily Variety 4139: 4133: 4129: 4124: 4108: 4101: 4095:, p. 24. 4094: 4089: 4082: 4077: 4071:, p. 21. 4070: 4065: 4049: 4045: 4044:Rolling Stone 4041: 4034: 4027: 4023: 4018: 4012:, p. 111 4011: 4007: 4002: 3996:, p. 76. 3995: 3990: 3983: 3982:Grønstad 2003 3978: 3971: 3968:, p. 2; 3967: 3962: 3955: 3950: 3943: 3938: 3931: 3926: 3919: 3914: 3907: 3902: 3895: 3890: 3883: 3878: 3876: 3874: 3866: 3861: 3855:, p. 46. 3854: 3849: 3843:, p. 35. 3842: 3837: 3830: 3825: 3819:, p. 17. 3818: 3817:Benyahia 2012 3813: 3807:, p. 110 3806: 3802: 3797: 3790: 3785: 3779:, p. 40. 3778: 3773: 3766: 3763:, p. 46; 3762: 3761:Phillips 1999 3757: 3751:, p. 16. 3750: 3749:Benyahia 2012 3745: 3738: 3733: 3726: 3721: 3715:, p. 95. 3714: 3709: 3703:, p. 28. 3702: 3697: 3695: 3688:, p. 27. 3687: 3682: 3680: 3678: 3670: 3665: 3659:, p. 26. 3658: 3653: 3651: 3643: 3638: 3632:, p. 25. 3631: 3626: 3619: 3614: 3612: 3605:, p. 76. 3604: 3599: 3592: 3587: 3571: 3567: 3563: 3557: 3550: 3545: 3526: 3522: 3515: 3509: 3493: 3489: 3483: 3468: 3467: 3462: 3456: 3441: 3437: 3436: 3431: 3425: 3409: 3403: 3396: 3393:, p. 27; 3392: 3387: 3371: 3365: 3349: 3342: 3326: 3322: 3316: 3310:, p. 91. 3309: 3304: 3297: 3292: 3285: 3280: 3278: 3270: 3265: 3258: 3254: 3249: 3242: 3241:McCarthy 1997 3237: 3222: 3218: 3211: 3195: 3189: 3173: 3167: 3161:, p. 76. 3160: 3155: 3148: 3143: 3136: 3131: 3129: 3121: 3116: 3109: 3104: 3097: 3096:Grønstad 2003 3093: 3092:Ashbrook 1965 3088: 3081: 3076: 3074: 3072: 3070: 3053: 3049: 3043: 3037:, p. 52. 3036: 3031: 3025:, p. 93. 3024: 3019: 3017: 3015: 3013: 2996: 2992: 2985: 2978: 2973: 2958: 2954: 2948: 2941: 2936: 2928: 2924: 2923: 2918: 2912: 2905: 2900: 2898: 2890: 2885: 2883: 2875: 2861: 2857: 2853: 2847: 2840: 2836: 2831: 2825:, p. 59. 2824: 2819: 2812: 2811:Hagemann 1984 2807: 2800: 2796: 2791: 2784: 2779: 2773:, p. 68. 2772: 2767: 2765: 2757: 2753: 2748: 2741: 2736: 2729: 2724: 2722: 2714: 2709: 2703:, p. 150 2702: 2698: 2693: 2686: 2681: 2679: 2671: 2666: 2659: 2655: 2650: 2644:, p. 48. 2643: 2638: 2622: 2618: 2612: 2605: 2600: 2593: 2588: 2582:, p. 87. 2581: 2576: 2570:, p. 75. 2569: 2564: 2562: 2554: 2550: 2545: 2539:, p. 55. 2538: 2533: 2527:, p. 53. 2526: 2521: 2514: 2509: 2502: 2497: 2489: 2485: 2478: 2471: 2467: 2462: 2455: 2450: 2444:, p. 74. 2443: 2438: 2436: 2429:, p. 72. 2428: 2423: 2416: 2411: 2409: 2402:, p. 64. 2401: 2396: 2389: 2385: 2384:McCarthy 1997 2380: 2373: 2372:MacAdams 1990 2368: 2361: 2356: 2340: 2336: 2321: 2317: 2311: 2306: 2300:, p. 86. 2299: 2294: 2279: 2275: 2270: 2265: 2259:, p. 148 2258: 2253: 2237: 2233: 2226: 2220:, p. 49. 2219: 2218:Bergreen 1994 2214: 2207: 2206:McCarthy 1997 2202: 2195: 2190: 2183: 2178: 2172:, p. 77. 2171: 2166: 2160:, p. 71. 2159: 2154: 2147: 2142: 2140: 2132: 2128: 2124: 2119: 2113:, p. 85. 2112: 2107: 2105: 2097: 2092: 2086:, p. 73. 2085: 2080: 2064: 2060: 2056: 2052: 2048: 2047: 2042: 2036: 2029: 2024: 2022: 2020: 2003: 1997: 1993: 1988: 1981: 1976: 1969: 1965: 1960: 1944: 1940: 1933: 1927: 1922: 1915: 1910: 1903: 1899: 1894: 1887: 1883: 1878: 1871: 1866: 1859: 1854: 1847: 1842: 1840: 1838: 1829: 1828: 1823: 1822:"In New York" 1817: 1813: 1805: 1803: 1802: 1797: 1793: 1789: 1788: 1783: 1782: 1781:Little Caesar 1777: 1776: 1771: 1767: 1763: 1761: 1757: 1753: 1749: 1748:Coen brothers 1745: 1744:Antoine Fuqua 1741: 1737: 1732: 1729: 1725: 1718:Related films 1715: 1713: 1709: 1705: 1701: 1700: 1694: 1690: 1686: 1682: 1678: 1668: 1666: 1662: 1657: 1653: 1651: 1650: 1644: 1640: 1637: 1632: 1623: 1619: 1617: 1613: 1609: 1604: 1600: 1596: 1592: 1588: 1587:Little Caesar 1584: 1580: 1569: 1560: 1557: 1554: 1550: 1546: 1542: 1541: 1535: 1533: 1528: 1524: 1514: 1511: 1501: 1499: 1488: 1486: 1482: 1478: 1473: 1463: 1460: 1451: 1442: 1437: 1427: 1423: 1419: 1417: 1411: 1402: 1399: 1394: 1393:Little Caesar 1389: 1383: 1373: 1371: 1367: 1363: 1359: 1358:"Ten Top Ten" 1356:revealed its 1355: 1351: 1350: 1345: 1341: 1340: 1335: 1331: 1327: 1317: 1315: 1311: 1307: 1302: 1300: 1296: 1292: 1287: 1286:Woods Theatre 1283: 1278: 1276: 1272: 1268: 1263: 1259: 1253: 1251: 1247: 1242: 1238: 1234: 1229: 1225: 1220: 1216: 1215: 1210: 1200: 1198: 1194: 1190: 1186: 1181: 1177: 1176:Little Caesar 1173: 1159: 1155: 1153: 1149: 1148: 1143: 1139: 1138:Joan Crawford 1136:and starring 1135: 1134: 1129: 1125: 1121: 1117: 1107: 1105: 1101: 1100: 1095: 1091: 1087: 1083: 1079: 1075: 1071: 1066: 1056: 1053: 1052: 1047: 1042: 1039: 1035: 1025: 1021: 1018: 1014: 1010: 1006: 1002: 996: 993: 989: 984: 979: 977: 973: 969: 965: 961: 957: 948: 945: 940: 937: 936:Mayan Theater 933: 929: 918: 916: 912: 907: 905: 901: 900:Spencer Tracy 897: 896: 891: 887: 882: 880: 876: 869: 864: 855: 851: 849: 844: 840: 836: 830: 826: 823: 813: 810: 805: 803: 799: 794: 792: 788: 784: 780: 779:Little Caesar 776: 775:Little Caesar 772: 762: 760: 759:Borgia Family 756: 755: 754:Hell's Angels 750: 749: 744: 739: 737: 736: 731: 727: 723: 719: 718: 713: 708: 706: 702: 698: 694: 693: 688: 684: 683: 682:Little Caesar 678: 674: 670: 666: 665: 660: 659:Howard Hughes 641: 638: 635: 632: 631:Edwin Maxwell 629: 626: 623: 620: 617: 614: 613:Purnell Pratt 611: 608: 607:Vince Barnett 605: 602: 599: 596: 593: 590: 589:Boris Karloff 587: 584: 581: 578: 575: 572: 569: 566: 563: 562: 555: 553: 547: 541: 536: 532: 530: 524: 520: 518: 513: 511: 505: 503: 498: 496: 492: 488: 485: 476: 467: 465: 461: 457: 453: 449: 445: 441: 437: 435: 432:(both 1931), 431: 430: 425: 424: 423:Little Caesar 417: 415: 414: 409: 404: 400: 394: 393:is depicted. 392: 388: 387:Boris Karloff 384: 380: 377: 373: 369: 365: 361: 357: 353: 352:Howard Hughes 349: 345: 344:gangster film 342: 338: 337: 332: 331: 326: 325: 315: 311: 307: 303: 296: 293: 292: 290: 286: 283:United States 282: 278: 274: 268: 262: 248: 247: 245: 239: 236: 233: 229: 223: 215: 209: 206: 204: 203:Adolf Tandler 201: 200: 198: 194: 191: 188: 184: 178: 175: 173: 170: 169: 167: 163: 157: 156:Boris Karloff 154: 152: 149: 147: 144: 142: 139: 137: 134: 132: 129: 128: 126: 122: 116: 115:Howard Hughes 113: 110: 109: 107: 103: 100: 95: 94: 90: 86: 80: 77: 75: 72: 70: 67: 65: 62: 61: 59: 57:Screenplay by 55: 49: 46: 45: 43: 39: 32: 27: 22: 19: 7891:Films à clef 7771: 7765:The Get-Away 7763: 7757:Apache Trail 7755: 7747: 7739: 7731: 7723: 7715: 7707: 7699: 7691: 7683: 7677:Fine Manners 7675: 7620:Gaily, Gaily 7618: 7611: 7586: 7578: 7570: 7562: 7554: 7535: 7529:Circus World 7527: 7519: 7511: 7503: 7495: 7487: 7479: 7471: 7463: 7455: 7447: 7441:Living It Up 7439: 7431: 7423: 7415: 7407: 7399: 7391: 7383: 7375: 7367: 7359: 7351: 7343: 7335: 7327: 7319: 7311: 7303: 7295: 7287: 7279: 7271: 7263: 7255: 7247: 7239: 7231: 7223: 7215: 7207: 7199: 7191: 7183: 7176: 7175: 7167: 7159: 7151: 7143: 7135: 7116: 7108: 7100: 7092: 7084: 7076: 7068: 6952: 6944: 6936: 6928: 6920: 6901: 6893: 6885: 6877: 6869: 6861: 6853: 6845: 6837: 6829: 6821: 6813: 6805: 6797: 6790: 6789: 6781: 6773: 6765: 6757: 6749: 6741: 6722: 6714: 6678:Spruce Goose 6677: 6612: 6604: 6596: 6588: 6580: 6572: 6564: 6556: 6541: 6533: 6525: 6517: 6509: 6501: 6493: 6485: 6479:Ball of Fire 6477: 6469: 6461: 6453: 6445: 6437: 6429: 6423:Ceiling Zero 6421: 6413: 6405: 6397: 6389: 6381: 6374: 6373: 6365: 6357: 6349: 6341: 6333: 6325: 6319:Paid to Love 6317: 6309: 6301: 6293: 6283:Howard Hawks 6233: 6208:Tony Montana 6203:Tony Camonte 6182: 6136: 6129: 6122: 6103: 6096: 6095: 6076: 6062: 6015: 6002: 5991: 5980: 5969: 5930: 5926: 5906: 5875:(2): 50–73. 5872: 5868: 5844: 5840: 5821: 5809:. Retrieved 5804: 5800: 5784:. Retrieved 5769: 5749: 5741: 5734:. Retrieved 5714: 5691: 5664: 5645: 5641: 5616: 5612: 5592: 5572: 5560:. Retrieved 5545: 5532:. Retrieved 5517: 5497: 5480: 5476: 5456: 5443:. Retrieved 5428: 5410: 5406: 5387: 5368: 5351: 5347: 5328: 5316:. Retrieved 5301: 5283: 5280:Film Comment 5279: 5258: 5238: 5237:Pulp Fiction 5234: 5230: 5211: 5187: 5167: 5150: 5125: 5108: 5086: 5068: 5064: 5052:. Retrieved 5037: 5017: 5003:cite journal 4976: 4972: 4953: 4934: 4915: 4907: 4900:. Retrieved 4880: 4857: 4836: 4815: 4794: 4775: 4756: 4737: 4725:. Retrieved 4710: 4684: 4663: 4651:. Retrieved 4636: 4616: 4607: 4598: 4591:Bibliography 4576: 4564: 4552:. Retrieved 4543: 4533: 4521:. Retrieved 4516: 4506: 4494:. Retrieved 4489: 4480: 4468:. Retrieved 4463: 4453: 4441:. Retrieved 4436: 4426: 4414:. Retrieved 4409: 4399: 4387:. Retrieved 4382: 4373: 4361: 4349:. Retrieved 4338: 4326:. Retrieved 4315: 4303:. Retrieved 4280: 4271: 4259:. Retrieved 4255: 4246: 4234: 4222: 4211:, retrieved 4201: 4195: 4183:. Retrieved 4164: 4155: 4144: 4138: 4132:Wallace 2015 4123: 4111:. Retrieved 4100: 4088: 4083:, p. 1. 4076: 4069:Hossent 1974 4064: 4052:. Retrieved 4048:the original 4043: 4033: 4028:, p. 74 4017: 4001: 3989: 3977: 3972:, p. 14 3970:Hossent 1974 3966:Brookes 2016 3961: 3954:Keating 2016 3949: 3942:Keating 2016 3937: 3930:Keating 2016 3925: 3918:Keating 2016 3913: 3906:Keating 2016 3901: 3894:Keating 2016 3889: 3882:Keating 2016 3865:Keating 2016 3860: 3848: 3836: 3829:Warshow 1954 3824: 3812: 3796: 3784: 3772: 3756: 3744: 3732: 3720: 3713:Clarens 1980 3708: 3664: 3637: 3625: 3598: 3586: 3574:. Retrieved 3556: 3544: 3532:. Retrieved 3525:the original 3508: 3496:. Retrieved 3491: 3482: 3470:. Retrieved 3464: 3455: 3443:. Retrieved 3433: 3424: 3412:. Retrieved 3402: 3391:Brookes 2016 3386: 3374:. Retrieved 3364: 3352:. Retrieved 3341: 3329:. Retrieved 3324: 3315: 3308:Clarens 1980 3303: 3296:Keating 2016 3291: 3264: 3259:, p. 69 3248: 3236: 3224:. Retrieved 3220: 3210: 3198:. Retrieved 3188: 3176:. Retrieved 3166: 3154: 3142: 3115: 3103: 3087: 3056:. Retrieved 3052:Film Article 3051: 3042: 3030: 3023:Clarens 1980 2999:. Retrieved 2994: 2984: 2979:, p. 80 2972: 2960:. Retrieved 2956: 2947: 2935: 2927:the original 2920: 2911: 2906:, p. 76 2876:, p. 44 2864:. Retrieved 2855: 2846: 2841:, p. 80 2830: 2818: 2806: 2801:, p. 89 2799:Clarens 1980 2790: 2778: 2771:McCarty 1993 2758:, p. 88 2756:Clarens 1980 2747: 2735: 2713:Doherty 1999 2708: 2701:Doherty 1999 2697:Yogerst 2017 2692: 2685:Yogerst 2017 2665: 2660:, p. 52 2654:Doherty 1999 2649: 2637: 2625:. Retrieved 2620: 2611: 2604:Doherty 1999 2599: 2587: 2580:Clarens 1980 2575: 2549:Keating 2016 2544: 2532: 2520: 2508: 2496: 2487: 2477: 2472:, p. 52 2461: 2449: 2422: 2395: 2390:, p. 86 2388:Clarens 1980 2379: 2367: 2355: 2343:. Retrieved 2338: 2324:. Retrieved 2319: 2305: 2298:Clarens 1980 2293: 2281:. Retrieved 2277: 2264: 2257:Doherty 1999 2252: 2240:. Retrieved 2235: 2225: 2213: 2201: 2189: 2177: 2170:Roberts 2006 2165: 2158:Roberts 2006 2153: 2146:McCarty 1993 2133:, p. 85 2131:Clarens 1980 2118: 2111:Clarens 1980 2091: 2079: 2067:. Retrieved 2044: 2035: 2006:. Retrieved 1992:Clarens 1980 1987: 1975: 1970:, p. 77 1959: 1947:. Retrieved 1942: 1937:Dirks, Tom. 1932: 1921: 1909: 1904:, p. 73 1893: 1888:, p. 73 1877: 1865: 1853: 1825: 1816: 1799: 1795: 1785: 1779: 1773: 1765: 1764: 1735: 1733: 1723: 1721: 1706:announced a 1697: 1688: 1674: 1660: 1658: 1647: 1642: 1641: 1635: 1630: 1628: 1611: 1602: 1598: 1594: 1590: 1586: 1582: 1578: 1576: 1558: 1553:Pino Colizzi 1538: 1536: 1531: 1526: 1520: 1509: 1507: 1494: 1484: 1476: 1469: 1458: 1457: 1448: 1439: 1424: 1420: 1412: 1408: 1392: 1387: 1385: 1369: 1361: 1347: 1337: 1325: 1323: 1309: 1305: 1303: 1298: 1290: 1281: 1279: 1267:Nazi Germany 1257: 1254: 1249: 1245: 1240: 1236: 1232: 1227: 1218: 1212: 1206: 1196: 1192: 1188: 1184: 1179: 1175: 1171: 1169: 1151: 1145: 1141: 1131: 1119: 1113: 1097: 1062: 1049: 1043: 1033: 1031: 1022: 1016: 1012: 1008: 1004: 997: 991: 987: 982: 980: 975: 955: 954: 943: 941: 932:Harold Lloyd 924: 911:Eddie Mannix 908: 903: 893: 883: 872: 867: 852: 831: 827: 819: 808: 806: 801: 797: 795: 782: 778: 774: 771:W.R. Burnett 768: 752: 746: 743:Howard Hawks 740: 734: 721: 715: 709: 701:Warner Bros. 697:James Cagney 690: 680: 662: 656: 640:Howard Hawks 625:Inez Palange 583:Karen Morley 548: 544: 539: 525: 521: 514: 510:Cook's Tours 506: 499: 481: 455: 439: 438: 433: 427: 421: 418: 411: 407: 398: 395: 348:Howard Hawks 346:directed by 335: 334: 329: 328: 323: 322: 321: 265:Running time 242:Release date 146:Karen Morley 111:Howard Hawks 91: 64:W.R. 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Scarface (1932 film)

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