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Describing it as a “cult classic” seems to discredit the overwhelming mainstream attachment to the film in the American popular imagination. You got something that failed in the box office, but became a ghetto classic.” Indeed, the distribution, critical reactions, and urban consumption of the film seem to parallel the narrative within the movie. The president of Def Jam records astutely observes: “I think people don’t realize the importance of a flick like this.
SCARFACE THE WORLD IS YOURS T SHIRT MOVIE
Comments throughout this movie indicate the romantic fantasy that emerges, and the way it speaks to young black and latino men. A documentary, entitled, “Scarface: Origins of a Hip Hop Classic,” was made in 2003 and featured various celebrities like Snoop Dogg and JayZ describing their attachment to the movie. Minimalist-style poster for “Cult Classic” Theatre showing of ScarfaceĪdditionally, hip hop and rap artists have fully embraced the rhetoric of Scarface in their songs and names. Many artists reimagine the branding, quotes, characters and imagery associated with Scarface and sell their wares online. At malls, it is virtually impossible NOT to find a Scarface t-shirt, poster, or pendant. The continuing power of this narrative is evident in the vast amounts of products and material culture that remains in production. Scarface Remembered in Contemporary Popular Culture In this temporary redistribution of wealth that the gangster story narrativizes, the appeal remains for those who feel disenfranchised without disrupting the fundamental belief in the justice of the capitalist system. Inevitably, both the old and new conceptualization of the gangster involves the rise and fall of the criminal protagonist, as he forcibly takes the money and power that are integral to the American dream. Since the release of Scarface, the American Gangster has been popularly conceived and represented in movies, hip-hop music, and news as a young Black man trying to “make it” in a harsh environment. Scarface “ offered them a hero who represented, as Public Enemy would implore years later with the anthem “Fight the Power,” the militant opposition to the white male hegemony which oppresses them.”
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He later summarizes how Scarface was able to be understood as a rebellion against oppressive hierarchies. Prince writes, “criminal behavior is very likely to be accepted by an audience if that audience itself needs money to solve its real life problems,” implying that the approval of Tony’s behavior is based on the dissatisfaction viewers felt with their own economic situation. In his study of viewers of Scarface, Rob Prince found that viewers’ reactions to the film were more dependent on their class than race. The continuous recycling of what could have been just another 80s gangster film underscores the its importance in American consciousness. The imagery of Scarface and its re-imagination of the rags-to-riches ideal as a battle of life and death (with little hope for positive outcome) has been widely referenced and appropriated in hip-hop culture. The outsider status of Tony as a poor immigrant, or non-white man continues to resonate across racial lines, and Scarface is celebrated for its narrative that seems to undermine the white capitalist system, creating oppressive class boundaries. Outside of the issues of casting a white actor to play a Cuban one, the film directly addresses the nationality and immigrant status of the protagonist. Pacino’s performance has been read by some critics as a mockery because of the ridiculous accent and slang he uses, and the brown-face makeup he wears. The issue of race first emerges with the casting of Al Pacino, an Italian American, as a Cuban immigrant.
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Thus, Montana has become a romanticized masculine emblem for “outsider” populations that identify with the fatality of struggling for success through conventional routes. This movie both critiques, at some level, the economic system that rewards only a select few (Montana has various lines that directly address the uphill battle he faces) and embraces it–albeit through brutal violence and drug smuggling. With a vengeance”Īfter describing his desire for economic agency to the immigration officials at the beginning of the film, Tony Montana is depicted working his way up from poverty through criminal capitalism and entrepreneurship.