Scarface and Public Enemies

Gangster films are the A-typical Hollywood genre films. They're visually stunning, filled with exciting sequences. They have fun villains, sometimes with cool names. They provide the wish fulfillment that audiences see movies for. And on top of that, they're morality tales, providing metaphors for life and tragic examples of exploitation. At their best, they are all these things. At their best, no other genre offers this much in any single film.

But just like other genres, there are formulas and story arcs, tropes, symbols, the whole thing; all to help the themes play perfectly. The classic gangster films usually got it right, hardly straying from the formula, providing different takes on the same tragic American gangster formula. But none was as pure as the original Scarface. The plot follows the basic outline of Tony, a low-level mobster's rise to power. He takes on the rival gang, going against his boss's advice, building the empire larger and larger. As the empire gets bigger, so does Tony's ego and appetite. He gets his come-uppins in the end when he's pushed the bubble of the empire just a bit too large, dieing in a shootout with a horde of police. (Spoiling the ending doesn't matter, you know going into it, he's gonna get it.)

The original gangster movies were heavy on violence, but subtle on theme. The rules and boundaries weren't overly outlined until The Godfather. In the 30's films, there's mentions of rules, like not killing cops, but there's never too much exposition like in the Godfather films or Scorcesse's films, about staying within boundaries. In Scarface this holds up. Before Tony starts pushing the scene there was a balance to the city and mob life. This mirrored the real life scenarios of gangs and the police, with blind eyes and tip offs and only verbal demands to clean up cities. Of course, that's on the local level, Uncle Sam had a different idea. But gangster films hardly endeavor into the national realm. Most of the classic films deal with local gangsters and their fights with the city and other gangs.
But beyond the structure of that, gangster films really are allegories for life, especially in America. A man pulls himself up, fighting and clawing to establish himself. All he wants is a place of his own and respect. But it's a dog eat dog world, and sometimes accidents happen, it's just the way it is; people get hurt sometimes. Generally, as long as you keep your nose clean, stick to the rules that either society or you, yourself, have established, you'll be fine. And of course, family comes first.

But as you build your life and establish yourself firmly in the upper realms of society, where or when do you stop? When you were a nobody, it was easy to say and easy to keep your ideals. But power corrupts, and tommy guns and cocaine corrupt absolutely. The real lessons we learn are from the great downfalls. And none is greater than Tony Montana's(accent added). He falls, literally, from his huge balcony

The re-make follows the same basic outline as the original, Tony builds his empire but his pride brings him down. The difference though, is that in the original, Tony had some pretenses toward wanting to do right at times and at least being likable. In the remake, you don't like him and his only redeeming quality is his witty gun remarks. But it still follows the genre rules and gives us a hint at what the "Shame of a nation" really is all about. And that's the link to Public Enemies.

Public Enemies follows the exploits of John Dillinger as he escapades around the country, robbing banks and being chased by the Feds. But even though the film is about gangsters, it's not a gangster film. It's really a biopic about Dillinger. And it's actually a rather boring one, at that, which is surprising, considering the subject matter. Half the film follows John Dillinger's love affair with his girlfriend played by Marion Cotillard and the other half is about the Feds chasing him. Dillinger remains aloof basically the entire film, so it's hard to relate to him and care about the character. So much so, that no tears are shed when he gets his brains blown out on a Chicago sidewalk. In a way, the Feds tracking him were far more interesting, and you felt their plight as they stumble and learn the new trade of gangster finding. But their storyline is so basic and left to a mere framework of plot that they have no characters.
So what are we left with? Some cool sequences, like the shootout at the hotel, and the car chases, and a love story we're supposed to care about but can't because we don't know them much. What we should at least feel is the adornment of the people's love and awe of Dillinger and the other '30's era bank robbers. The people loved them, and felt like they were modern day Robin Hoods, or at the very least, brave men sticking it to the Man during a time when people were stuck in the bowels of the Depression. This film could have been an Untouchables, but it never dares to get close enough to any characters for us to like them. And the film hardly gives us a lesson out of the gangster genre handbook.


10 Best Gangster Pics

10.Little Ceasar - perhaps Robinson's best gangster film
9. Bonnie & Clyde - a cultural icon that's about more than bank robbers
8. The Departed - the best modern setting of a gangster film
7. The Untouchables - most all around solid film
6. Goodfellas - this re-invented the genre
5. Casino - forgotten under the shadow of Goodfellas, but better on all accounts
4. Public Enemy - the grapefruit scene alone puts this on the list
3. The Godfather II - the Empire Strikes Back of gangster films
2. Scarface (1932) - the perfect formula for the genre
1. The Godfather - the Godfather of all gangster films


And the 10 Best Gangster Quotes

10. From now on, I want you to put an equal amount of blueberries in each muffin. - Casino
9 "Just when I thought I was out... they pull me back in." - The Godfather Part III
8 "Now go home and get your fuckin' shinebox." - Goodfellas
7 "Is this the end of Rico?" - Little Ceasar
6 "Marriage is an important part of getting ahead: lets people know you're not a homo; married guy seems more stable; people see the ring, they think at least somebody can stand the son of a bitch; ladies see the ring, they know immediately you must have some cash or your cock must work." - The Departed
5 "Leave the gun. Take the cannoli." - The Godfather
4 "I knew it was you, your broke my heart." - The Godfather Part II
3 "Make him an offer he can't refuse." - The Godfather
2 "I'm funny how, I mean funny like I'm a clown, I amuse you? I make you laugh, I'm here to fuckin' amuse you? What do you mean funny, funny how? How am I funny?" - Goodfellas
1. "Say hello to my little friend" - Scarface (1983)