Watch: Scarface 1932 123movies, Full Movie Online – Johnny Lovo rises to the head of the bootlegging crime syndicate on the south side of Chicago following the murder of former head, Big Louis Costillo. Johnny contracted Big Louis’ bodyguard, Tony Camonte, to make the hit on his boss. Tony becomes Johnny’s second in command, and is not averse to killing anyone who gets in his and Johnny’s way. As Tony is thinking bigger than Johnny and is not afraid of anyone or anything, Tony increasingly makes decisions on his own instead of following Johnny’s orders, especially in not treading on the north side run by an Irish gang led by a man named O’Hara, of whom Johnny is afraid. Tony’s murder spree increases, he taking out anyone who stands in his and Johnny’s way of absolute control on the south side, and in Tony’s view absolute control of the entire city. Tony’s actions place an unspoken strain between Tony and Johnny to the point of the two knowing that they can’t exist in their idealized world with the other. Tony’s ultimate downfall may be one of two women in his life: Poppy, Johnny’s girlfriend to who Tony is attracted; and Tony’s eighteen year old sister, Cesca, who is self-professed to be older mentally than her years much to Tony’s chagrin, he who will do anything to protect her innocence. Cesca ultimately comes to the realization that she is a lot more similar to her brother than she first imagined..
Plot: In 1920s Chicago, Italian immigrant and notorious thug, Antonio “Tony” Camonte, shoots his way to the top of the mobs while trying to protect his sister from the criminal life.
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Muni, Robinson and Cagney
Inevitably, Scarface will be compared with the near-contemporary gangster films, Little Caesar and Public Enemy, and Paul Muni with their stars Edward G. Robinson and James Cagney. What does it tell us about that era: that all three careers took off with portrayals of gang leaders? The three performances significantly differ. Robinson rises to the top by the use of a crafty intelligence as well as violence; Cagney by a type of shrewdness and personal charisma. Paul Muni’s Tony Comonte is neither intelligent nor personable; his manners are crude; and at times he is almost childlike in his behavior: for instance, when he is enjoying a play and is interrupted after the second act, summoned to do another killing,and leaves a henchman behind, who can tell him later how it came out, then is delighted to hear that the “guy with the collar” didn’t get the girl; rather, the rougher suitor. He can be described as cunning and animistic: a young wolf who eliminates any rival who stands in his way; finally the leader of the pack One can be moved by Robinson’s last words, “Is this the end of Little Caesar?” or by Cagney’s body falling through the open door of his family home, he having been killed off-screen. Comonte’s death is that of a trapped or cornered animal, wordless in a beautifully staged sequence,as brutal as his life, depicted for the audience in every detail. Of the three portrayals, Muni’s comes across to me as the most chilling, in its enactment of instinctive evil. How ironic that He would later win his greatest fame for his performances as Emile Zola and Louis Pasteur.
“Do It First, Do It Yourself, And Keep On Doing It”
Unlike James Cagney and Edward G. Robinson in their career making roles as gangsters, Paul Muni after Scarface was able to avoid being typecast for his career. Only rarely did Muni return to a gangster part in his career.
It must not have been easy for him because Muni is absolutely mesmerizing as the totally amoral Tony Camonte. After Scarface was released Muni was inundated with offers to play gangsters which he rejected. Interesting because without knowing it another of the cast in Scarface, Boris Karloff, would be ultimately trapped in the horror film genre. Muni assuredly avoided Karloff’s fate.
Another cast member, George Raft, got his big film break playing Muni’s right hand man. For Raft this was art imitating life, these were the people who were his pallies in real life, there was never any acting involved. Raft never really had too many acclaimed performances away from the gangster/big city genre.
Camonte is the ultimate killing machine. He knows only one law the law of the jungle. He’ll rise by any means possible, use anyone it takes, kill anyone who gets in his way. He has only two weaknesses, an obsession that borders on incestuous desires for his sister Ann Dvorak and a kind of affection for his factotum Vince Barnett. That’s the kind of affection you have for a pet.
Barnett who usually played drunks and hangers-on got his career role out of Scarface. What comic relief there is in the film he provides. He’s got some good moments as a ‘secretary’ trying to take a phone message with bullets flying all around him. Had he been not dispatched to take the message the machine gun bullets would have found their mark easily in the taller Muni.
Scarface is also art that imitates life. Anyone with a cursory knowledge of the history of gangland war in the Chicago of the Twenties will recognize Muni as Capone, Boris Karloff as Bugs Moran, and Osgood Perkins as Johnny Torio. Capone could have sued, but right about then he was having much bigger problems with Internal Revenue.
We can’t forget Karen Morley who played Poppy the girl who likes to go with a winner. She shifts from Perkins to Muni and away from Muni when it becomes necessary. In her own way, she’s as amoral as Muni.
Scarface along with Public Enemy and Little Caesar set the standard for gangster films. The updated 1983 remake with Al Pacino in Muni’s part is a good film itself and got a lot of its audience with some really gory scenes.
Muni did it with talent alone.
Original Language en
Runtime 1 hr 33 min (93 min), 1 hr 28 min (88 min) (re-edited) (re-release) (re-release)
Genre Action, Crime, Drama
Director Howard Hawks, Richard Rosson
Writer Armitage Trail, Ben Hecht, Seton I. Miller
Actors Paul Muni, Ann Dvorak, Karen Morley
Country United States
Awards 2 wins
Production Company N/A
Sound Mix Mono (Western Electric Sound System)
Aspect Ratio 1.37 : 1
Film Length 2,529 m (Italy), 2,537.15 m (9 reels) (UK), (10 reels)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm