Scarface's Recent Activity

list Scarface's Recent Activity - Spout http://www.spout.com/ Recent community activity around Scarface on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg Scarface's Recent Activity - Spout http://www.spout.com/ 136 30 Film:Scarface http://www.spout.com/films/Scarface/30185/default.aspx

Title: Scarface
Year: 1983
Director: Brian De Palma
Plot: Al Pacino stars as Tony Montana, an exiled Cuban criminal who goes to work for Miami drug lord Robert Loggia. Montana rises to the top of Florida's crime chain, appropriating Loggia's cokehead mistress (Michelle Pfeiffer) in the process. Howard Hawks' "X Marks the Spot" motif in depicting the story line's many murders is dispensed with in the 1983 Scarface; instead, we are inundated with blood by the bucketful, especially in the now-infamous buzz saw scene. One carry-over from the original Scarface is Tony Montana's incestuous yearnings for his sister Gina (Mary Elizabeth Mastrantonio). The screenplay for the 1983 Scarface was written by Oliver Stone. ~ Hal Erickson, All Movie Guide
Times Tagged: 113
Number of Lists: 82
Number of blog posts: 9
Number of discussion threads: 3
SpoutRating: 3
]]>Sat, 20 Jun 2009 16:19:57 GMTScarface1983Brian De Palma<a href="/players/P____54596/default.aspx" style='text-decoration:underline'>Al Pacino</a> stars as Tony Montana, an exiled Cuban criminal who goes to work for Miami drug lord <a href="/players/P____42988/default.aspx" style='text-decoration:underline'>Robert Loggia</a>. Montana rises to the top of Florida's crime chain, appropriating Loggia's cokehead mistress (<a href="/players/P____56469/default.aspx" style='text-decoration:underline'>Michelle Pfeiffer</a>) in the process. <a href="/players/P____93764/default.aspx" style='text-decoration:underline'>Howard Hawks</a>' "X Marks the Spot" motif in depicting the story line's many murders is dispensed with in the 1983 Scarface; instead, we are inundated with blood by the bucketful, especially in the now-infamous buzz saw scene. One carry-over from the original Scarface is Tony Montana's incestuous yearnings for his sister Gina (<a href="/players/P____46334/default.aspx" style='text-decoration:underline'>Mary Elizabeth Mastrantonio</a>). The screenplay for the 1983 Scarface was written by <a href="/players/P___112907/default.aspx" style='text-decoration:underline'>Oliver Stone</a>. ~ Hal Erickson, All Movie Guide113Tag Target (>10)82933http://www.spout.com/ProductImages/u44400xbca5.jpghttp://www.spout.com/films/Scarface/30185/default.aspxFilm Spout Post: 'Twilight': I call the big one 'Bitey' http://www.spout.com/blogs/usesoap/archive/2008/11/25/37619.aspx

Post By: usesoap
Post To: usesoap Blog
Post Date: 11/25/2008 12:44:47 PM
Body: During last year’s “Juno” zeitgeist, I received a response from a reader who took umbrage with me slamming the film. “I guess you don’t remember what’s it’s like to be a 16-year-old girl who is unpopular, non-conforming and pregnant,” she sniffed. I always thought this to be an odd line of reasoning for an argument. By that statement, does that mean I must have spent time as a gladiator to enjoy “300?” Must I have gone through heroin withdraw after cutting short my career in punk music to appreciate “Sid and Nancy?” A film need not have leads with character traits that duplicate my own in order for me to appreciate it (“Trainspotting” immediately comes to mind). It does not even have to have leads that I respect, for that matter (say hello to my little friend “Scarface”). What it does have to contain is an involving story and, in lieu of, or addition to that, characters which captivate my attention long enough for me to want to spend two hours with them in a darkened theater. The novel “Twilight,” written by Stephanie Meyers, is not meant for me. Nor, I gather, is the film. It was meant for the two texting tweeners sitting next to me in the theater – the ones who giggled at the first sight of Edward, the ones who cheered on Bella, but also the ones who spent the majority of film bathed in the blue light of their flipped-open cell phones, apparently interested in anything else but what was on the screen. (Maybe we could find common ground.) But there were certainly enough fans to give this film a record-breaking weekend at the box office last weekend. Fandango, the online pre-sale ticket hub, reported that tickets for “Twilight” were being sold at a rate of five per second prior to the first screenings. And they are not going away any time soon; after a phenomenal Friday box office, Summit, the tiny studio that produced the film, announced plans for a sequel and perhaps a third to be filmed back to back. And for that audience, I certainly understand (and even, at times, appreciate) the appeal. For beneath “Twilight’s” façade of forbidden love, mortal danger and blood-sucking vampires lies a very chaste, safe escapist fantasy for young girls who want their films with more danger than awaiting what college Zac Efron will select upon graduating high school. And when it comes to sexuality, a subject typically intertwined with the vampire mythology, these beasties don’t even grow those phallic fangs when they get excited, but rather just chomp away with normal incisors and bicuspids. These young girls can sit in the theater and completely ignore the sociological underpinnings of “Twilight,” and instead choose to retreat into the more fairy tale aspects of the story. There are certainly worse role models for young girls than that of young Bella (played by Kristen Stewart). She’s apparently smart, plainly pretty, a little tomboyish, and the new kid at school. She’s also immediately the center of attention of fellow classmates, the object of desire from the hunky, mysterious, aloof Edward (played by Robert Pattinson) and apparently responsible enough to be given carte blanche by her separated parents. There is a kernel of an interesting tragic story in the forbidden love of its leads (too bad neither actor seems interested in really emoting it, though). The fact that she’s human and Edward’s like, totally undead and could at any moment get all bitey on Bella makes this aspect compelling, especially for a youngster. Yet for anyone old enough to drive, though, is where “Twilight” begins to wither and shrivel under scrutiny. For vampire enthusiasts, this is perhaps one of the worst treatments of the mythology since Don Rickles turned into a vampire in the woefully bad John Landis mobster-vampire hybrid “Innocent Blood.” In fact, it tosses so many of the elements that make up the creatures’ mythology (the most long-standing in film history, by the way), one wonders why Meyers did not create a mythological beast all her own. For example, when these vampires are exposed to sunlight, their skin does not singe, it twinkles. Also, Edward and his surrogate “family” are “vegetarian vampires,” meaning they feast not on humans, but tear into woodland creatures like Sarah Palin on a weekend hunting expedition. But the lack of doom and gloom with its vampires are not the stake through “Twilight’s” heart. Between their sporting more pancake makeup than a crown at a Cure concert, Edward’s family’s passion for playing a good ol-fashioned game of baseball, or even their superhuman abilities, (which are amusingly in need of a larger budget), they are extremely difficult to take as seriously as director Catherine Hardwicke wants us to. The other splash of holy water is Stewart as Bella. Edward, who is revealed to be about 90 (that’s a lot of high school biology classes to slog through!), claims he’s waited his life for someone like her. Really? Why? Do you want to borrow her lipstick? Honestly, Stewart plays her as such a serious, mopey bore, it’s really hard to see just what it is about her that is so striking to anyone, particularly someone who has spent the last nine decades chasing high school chicks. Look, I am happy to see film aimed at an oft-neglected segment of film-goers, giving them a fantasy world that does not involve crass commercialism or power through sexualization (and I hope after this initial encounter Bella goes home and has some serious “Buffy: The Vampire Slayer” marathons for tips on being more strong willed). But the fact that this was apparently based on a wildly popular young adult novel makes me sad to realize just how few options there must be out there for our daughters to read.
]]>Tue, 25 Nov 2008 17:44:47 GMTusesoapusesoap Blog11/25/2008 12:44:47 PMDuring last year’s “Juno” zeitgeist, I received a response from a reader who took umbrage with me slamming the film. “I guess you don’t remember what’s it’s like to be a 16-year-old girl who is unpopular, non-conforming and pregnant,” she sniffed. I always thought this to be an odd line of reasoning for an argument. By that statement, does that mean I must have spent time as a gladiator to enjoy “300?” Must I have gone through heroin withdraw after cutting short my career in punk music to appreciate “Sid and Nancy?” A film need not have leads with character traits that duplicate my own in order for me to appreciate it (“Trainspotting” immediately comes to mind). It does not even have to have leads that I respect, for that matter (say hello to my little friend “Scarface”). What it does have to contain is an involving story and, in lieu of, or addition to that, characters which captivate my attention long enough for me to want to spend two hours with them in a darkened theater. The novel “Twilight,” written by Stephanie Meyers, is not meant for me. Nor, I gather, is the film. It was meant for the two texting tweeners sitting next to me in the theater – the ones who giggled at the first sight of Edward, the ones who cheered on Bella, but also the ones who spent the majority of film bathed in the blue light of their flipped-open cell phones, apparently interested in anything else but what was on the screen. (Maybe we could find common ground.) But there were certainly enough fans to give this film a record-breaking weekend at the box office last weekend. Fandango, the online pre-sale ticket hub, reported that tickets for “Twilight” were being sold at a rate of five per second prior to the first screenings. And they are not going away any time soon; after a phenomenal Friday box office, Summit, the tiny studio that produced the film, announced plans for a sequel and perhaps a third to be filmed back to back. And for that audience, I certainly understand (and even, at times, appreciate) the appeal. For beneath “Twilight’s” façade of forbidden love, mortal danger and blood-sucking vampires lies a very chaste, safe escapist fantasy for young girls who want their films with more danger than awaiting what college Zac Efron will select upon graduating high school. And when it comes to sexuality, a subject typically intertwined with the vampire mythology, these beasties don’t even grow those phallic fangs when they get excited, but rather just chomp away with normal incisors and bicuspids. These young girls can sit in the theater and completely ignore the sociological underpinnings of “Twilight,” and instead choose to retreat into the more fairy tale aspects of the story. There are certainly worse role models for young girls than that of young Bella (played by Kristen Stewart). She’s apparently smart, plainly pretty, a little tomboyish, and the new kid at school. She’s also immediately the center of attention of fellow classmates, the object of desire from the hunky, mysterious, aloof Edward (played by Robert Pattinson) and apparently responsible enough to be given carte blanche by her separated parents. There is a kernel of an interesting tragic story in the forbidden love of its leads (too bad neither actor seems interested in really emoting it, though). The fact that she’s human and Edward’s like, totally undead and could at any moment get all bitey on Bella makes this aspect compelling, especially for a youngster. Yet for anyone old enough to drive, though, is where “Twilight” begins to wither and shrivel under scrutiny. For vampire enthusiasts, this is perhaps one of the worst treatments of the mythology since Don Rickles turned into a vampire in the woefully bad John Landis mobster-vampire hybrid “Innocent Blood.” In fact, it tosses so many of the elements that make up the creatures’ mythology (the most long-standing in film history, by the way), one wonders why Meyers did not create a mythological beast all her own. For example, when these vampires are exposed to sunlight, their skin does not singe, it twinkles. Also, Edward and his surrogate “family” are “vegetarian vampires,” meaning they feast not on humans, but tear into woodland creatures like Sarah Palin on a weekend hunting expedition. But the lack of doom and gloom with its vampires are not the stake through “Twilight’s” heart. Between their sporting more pancake makeup than a crown at a Cure concert, Edward’s family’s passion for playing a good ol-fashioned game of baseball, or even their superhuman abilities, (which are amusingly in need of a larger budget), they are extremely difficult to take as seriously as director Catherine Hardwicke wants us to. The other splash of holy water is Stewart as Bella. Edward, who is revealed to be about 90 (that’s a lot of high school biology classes to slog through!), claims he’s waited his life for someone like her. Really? Why? Do you want to borrow her lipstick? Honestly, Stewart plays her as such a serious, mopey bore, it’s really hard to see just what it is about her that is so striking to anyone, particularly someone who has spent the last nine decades chasing high school chicks. Look, I am happy to see film aimed at an oft-neglected segment of film-goers, giving them a fantasy world that does not involve crass commercialism or power through sexualization (and I hope after this initial encounter Bella goes home and has some serious “Buffy: The Vampire Slayer” marathons for tips on being more strong willed). But the fact that this was apparently based on a wildly popular young adult novel makes me sad to realize just how few options there must be out there for our daughters to read. Spout Post: Re:Weekly Theme for October 20: The Montage http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_October_20_The_Montage/625/36602/1/ShowPost.aspx

Post By: rangertx
Post To: Weekly Theme
Post Date: 10/23/2008 12:10:11 AM
Body: The first that comes to mind for me is the Karate Kid. Also I really enjoy theScarface montage. I am sure that some parts of it are mundane due to the type of social icon that this movie is. But for me it still personifies the essence of cheering for the chamipon of the film.
]]>Thu, 23 Oct 2008 04:10:11 GMTrangertxWeekly Theme10/23/2008 12:10:11 AMThe first that comes to mind for me is the Karate Kid. Also I really enjoy theScarface montage. I am sure that some parts of it are mundane due to the type of social icon that this movie is. But for me it still personifies the essence of cheering for the chamipon of the film. Spout Post: 10 Worst Updates of 1930s Classics http://www.spout.com/blogs/spoutblog/archive/2008/9/9/34950.aspx

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/9/2008 4:01:08 PM
Body: Anticipating the worst from Diane English’s new remake of The Women is not just typical low expectations regarding remakes in general. My dread is specifically based on dissatisfaction with remakes and updates of films from the 1930s, arguably the best decade in cinema (it is certainly my favorite). While I may recognize and appreciate some favorable redos, such as DePalma’s Scarface (of which I’ve never really been a fan), Mazursky’s Down and Out in Beverly Hills and the multiple repeats from Hitchcock, I am more often disappointed with attempts to recreate ‘30s classics, even when I approach them with already low standards. Worst, for me, doesn’t necessarily have to do with the quality of the film alone, especially when related to remakes and updates. The titles and versions I’ve selected are hardly the worst in terms of craft or production value — you’ll note there are no Dracula movies on this list — and a few would almost be acceptable if they were more unique or solitary works. 10. Return to Oz (1985) I begin with a film that is not a remake in any form but tone. Yet I still see it as a kind of response to and update of the far more popular classic The Wizard of Oz (1939), which was viewed by some as not faithful enough to the source literature of L. Frank Baum. It was a bit of a guilty pleasure for me growing up, but I lost regard for the film after suffering through a professor’s defensive screening of it on the last day of a film history course. Sure, it’s truer to Baum and the illustrations of W.W. Denslow and John R. Neill, but as MGM’s beautiful 1939 interpretation shows, it’s better to be imaginative than loyal when translating works between mediums. 9. The Front Page (1974) Billy Wilder’s version of the Ben Hecht and Charles MacArthur play, which was first adapted to film in 1931, is plenty hilarious thanks to stars Jack Lemmon and Walter Matthau, as well as to a slew of terrific character actors, including Vincent Gardenia, Charles Durning, Austin Pendleton and Dick O’Neill. Also, the film’s homosexual innuendo is an interesting way of acknowledging Howard Hawks’ 1940 gender altering redo, His Girl Friday. I’d definitely choose Wilder’s film over the subsequent big screen version, the 1988 update Switching Channels, but compared to earlier adaptations and to Wilder’s earlier work, the ’74 Front Page is still quite a dissatisfying effort. My biggest problems are with the film’s artificial look, particularly its use of costumes that look more appropriate for a costume party than a period film, the gaudiness of the dialogue, especially the double entendres, and the miscasting of both Carol Burnett and Susan Sarandon (though my annoyance with the women in the film provide further acceptance of the gay undertones). 8. The Distinguished Gentleman (1992) This loose and uncredited reworking of Mr. Smith Goes to Washington (1939) could have been a worthy update had it included more laughs and more of a bite. The concept of placing a small-time con man in the big-time con of politics is ripe for good comedy and satire, plus it makes me think of the respectable crook/crooked respectability angle of Lubitsch’s Trouble in Paradise. Too bad the script was unsatisfactory (not surprising given it came partly from the screenwriter behind Leonard Part 6) and star Eddie Murphy was at the awkward moment of his career when he somehow lost his usual talent for comedy. 7. Flash Gordon (1980) I have to admit that I do actually love this movie. Well, to be fair, I only really love Queen’s score, Brian Blessed’s voice and Max Von Sydow’s makeup. The rest I just like. Anyway, despite my guilty pleasure in watching the thing on television throughout my childhood, it’s neither a good movie nor a successful update. It doesn’t really do the ‘30s Flash Gordon serials justice by being either a big-budget improvement or a tonally and narratively faithful throwback (comparatively, Star Wars succeeded at doing both). 6. The Hunchback of Notre Dame (1996) Disney’s idea to animate Victor Hugo’s novel was of questionable taste, but the studio’s need to so closely imitate William Dieterle’s 1939 adaptation was of questionable creative judgment. When I watch Disney’s Robin Hood, I’m not reminded of how much better Michael Curtiz’s 1938 version is; similarly, I’m able to appreciate the animated Beauty and the Beast and Alice and Wonderland without thinking of previous adaptations. Especially given the controversial lewdness and the simplification of the story, Disney’s version of Hunchback seems an insult to the source novel, Dieterle’s film and Charles Laughton’s characterization. 5. Meet Joe Black (1998) I’m a hypocrite to criticize anyone’s inability to be concise, but a three-hour remake of a 78-minute film (1934’s Death Takes a Holiday) displays a level of excess that even my meandering can’t compare to. Don’t get me wrong, though; I’m no hater of long films. But if you can make a long story short, it’s preferred that you do so. 4. The Mummy (1999) There’s no problem with reimagining a classic horror film as a blockbuster action movie, but taking something so iconically frightening as Boris Karloff’s Imhotep (in the ‘32 version) and updating the look with laughably cartoonish CGI is unfortunate. I know I’m on the other side of the fence from the moviegoers who made this a hit, but I would have actually enjoyed it more if the villain were depicted as a guy wrapped in bandages. 3. Mary Shelley’s Frankenstein (1994) Of course, CG may have been better than this. In fact, the only thing worse than Robert De Niro as the Creature would have been a hand-drawn animated Frankenberry in the role. 2. King Kong (2005) Technically, the 1976 remake with Jeff Bridges is a worse film, but that version at least took some interesting liberties in updating the 1933 classic. Peter Jackson’s intention seemed to be only to faithfully recreate the original with better special effects. And given the fact that many of the CG sequences are embarrassingly awful, I have to say this film was a more monumental failure in terms of purpose and promise. Jackson gave me yet another reason for questioning the point of filmmakers remaking their favorite films. 1. Mr. Deeds (2002) Other than the minor way in which this comedy updates the conservative message of Mr. Deeds Goes to Town (1936), there is really no reason for Capra’s film to have been remade, especially with such broad, immature comedy from Adam Sandler. While the original Mr. Deeds completely speaks to and of its time, this includes no topicality, no compelling historical or contemporary relevancy and no lasting cultural significance. Originally posted on:SpoutBlog
]]>Tue, 09 Sep 2008 20:01:08 GMTSpoutBlogSpoutBlog on spout.com9/9/2008 4:01:08 PM Anticipating the worst from Diane English’s new remake of The Women is not just typical low expectations regarding remakes in general. My dread is specifically based on dissatisfaction with remakes and updates of films from the 1930s, arguably the best decade in cinema (it is certainly my favorite). While I may recognize and appreciate some favorable redos, such as DePalma’s Scarface (of which I’ve never really been a fan), Mazursky’s Down and Out in Beverly Hills and the multiple repeats from Hitchcock, I am more often disappointed with attempts to recreate ‘30s classics, even when I approach them with already low standards. Worst, for me, doesn’t necessarily have to do with the quality of the film alone, especially when related to remakes and updates. The titles and versions I’ve selected are hardly the worst in terms of craft or production value — you’ll note there are no Dracula movies on this list — and a few would almost be acceptable if they were more unique or solitary works. 10. Return to Oz (1985) I begin with a film that is not a remake in any form but tone. Yet I still see it as a kind of response to and update of the far more popular classic The Wizard of Oz (1939), which was viewed by some as not faithful enough to the source literature of L. Frank Baum. It was a bit of a guilty pleasure for me growing up, but I lost regard for the film after suffering through a professor’s defensive screening of it on the last day of a film history course. Sure, it’s truer to Baum and the illustrations of W.W. Denslow and John R. Neill, but as MGM’s beautiful 1939 interpretation shows, it’s better to be imaginative than loyal when translating works between mediums. 9. The Front Page (1974) Billy Wilder’s version of the Ben Hecht and Charles MacArthur play, which was first adapted to film in 1931, is plenty hilarious thanks to stars Jack Lemmon and Walter Matthau, as well as to a slew of terrific character actors, including Vincent Gardenia, Charles Durning, Austin Pendleton and Dick O’Neill. Also, the film’s homosexual innuendo is an interesting way of acknowledging Howard Hawks’ 1940 gender altering redo, His Girl Friday. I’d definitely choose Wilder’s film over the subsequent big screen version, the 1988 update Switching Channels, but compared to earlier adaptations and to Wilder’s earlier work, the ’74 Front Page is still quite a dissatisfying effort. My biggest problems are with the film’s artificial look, particularly its use of costumes that look more appropriate for a costume party than a period film, the gaudiness of the dialogue, especially the double entendres, and the miscasting of both Carol Burnett and Susan Sarandon (though my annoyance with the women in the film provide further acceptance of the gay undertones). 8. The Distinguished Gentleman (1992) This loose and uncredited reworking of Mr. Smith Goes to Washington (1939) could have been a worthy update had it included more laughs and more of a bite. The concept of placing a small-time con man in the big-time con of politics is ripe for good comedy and satire, plus it makes me think of the respectable crook/crooked respectability angle of Lubitsch’s Trouble in Paradise. Too bad the script was unsatisfactory (not surprising given it came partly from the screenwriter behind Leonard Part 6) and star Eddie Murphy was at the awkward moment of his career when he somehow lost his usual talent for comedy. 7. Flash Gordon (1980) I have to admit that I do actually love this movie. Well, to be fair, I only really love Queen’s score, Brian Blessed’s voice and Max Von Sydow’s makeup. The rest I just like. Anyway, despite my guilty pleasure in watching the thing on television throughout my childhood, it’s neither a good movie nor a successful update. It doesn’t really do the ‘30s Flash Gordon serials justice by being either a big-budget improvement or a tonally and narratively faithful throwback (comparatively, Star Wars succeeded at doing both). 6. The Hunchback of Notre Dame (1996) Disney’s idea to animate Victor Hugo’s novel was of questionable taste, but the studio’s need to so closely imitate William Dieterle’s 1939 adaptation was of questionable creative judgment. When I watch Disney’s Robin Hood, I’m not reminded of how much better Michael Curtiz’s 1938 version is; similarly, I’m able to appreciate the animated Beauty and the Beast and Alice and Wonderland without thinking of previous adaptations. Especially given the controversial lewdness and the simplification of the story, Disney’s version of Hunchback seems an insult to the source novel, Dieterle’s film and Charles Laughton’s characterization. 5. Meet Joe Black (1998) I’m a hypocrite to criticize anyone’s inability to be concise, but a three-hour remake of a 78-minute film (1934’s Death Takes a Holiday) displays a level of excess that even my meandering can’t compare to. Don’t get me wrong, though; I’m no hater of long films. But if you can make a long story short, it’s preferred that you do so. 4. The Mummy (1999) There’s no problem with reimagining a classic horror film as a blockbuster action movie, but taking something so iconically frightening as Boris Karloff’s Imhotep (in the ‘32 version) and updating the look with laughably cartoonish CGI is unfortunate. I know I’m on the other side of the fence from the moviegoers who made this a hit, but I would have actually enjoyed it more if the villain were depicted as a guy wrapped in bandages. 3. Mary Shelley’s Frankenstein (1994) Of course, CG may have been better than this. In fact, the only thing worse than Robert De Niro as the Creature would have been a hand-drawn animated Frankenberry in the role. 2. King Kong (2005) Technically, the 1976 remake with Jeff Bridges is a worse film, but that version at least took some interesting liberties in updating the 1933 classic. Peter Jackson’s intention seemed to be only to faithfully recreate the original with better special effects. And given the fact that many of the CG sequences are embarrassingly awful, I have to say this film was a more monumental failure in terms of purpose and promise. Jackson gave me yet another reason for questioning the point of filmmakers remaking their favorite films. 1. Mr. Deeds (2002) Other than the minor way in which this comedy updates the conservative message of Mr. Deeds Goes to Town (1936), there is really no reason for Capra’s film to have been remade, especially with such broad, immature comedy from Adam Sandler. While the original Mr. Deeds completely speaks to and of its time, this includes no topicality, no compelling historical or contemporary relevancy and no lasting cultural significance. Originally posted on:SpoutBlog Spout Post: 15 Characters Who Unconvincingly Play Another Race http://www.spout.com/blogs/spoutblog/archive/2008/8/8/33761.aspx

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/8/2008 2:00:37 PM
Body: Yesterday’s list dealt with Tom Cruise’s performance in Tropic Thunder. Today, a response to Robert Downey Jr.’s role in the same film as a white actor portraying a black soldier in a war movie (seen in the above clip). Doesn’t it seem such an original and shocking idea? I guess not if you see it as an update on blackface. Fortunately, it’s different when it’s an actor playing a character who makes himself up to look black. It’s funny. But isn’t it typically more acceptable when the make-up isn’t quite as authentic-looking as Downey’s? He actually looks black. Specifically, he looks like Fred Williamson. I’ve seen plenty of lists detailing the worst instances of one race or nationality playing characters of another race/nationality (John Wayne and Susan Hayward in The Conqueror comes to mind as #1), but I can’t recall any lists involving actors playing characters disguised as or playing another race. So here’s one: My Geisha (”Lucy Dell”/”Yoko Mori”) - Shirley Maclaine is an American movie star who fools her filmmaker husband when she disguises herself as Japanese in order to win the lead role in his latest movie. She’s so good that throughout the whole production, he thinks he’s shamefully falling for a woman who isn’t his wife. But really, she’s not so much passing for Japanese as she is passing for the look of a geisha, which itself is not an ethnicity but a costume. Still, the makeup designer (Shu Uemura) pinned Maclaine’s eyes back in a way that wasn’t always done for “yellowface” in Hollywood films. The method (seen here) looks like it must have been excruciatingly painful. Gambit (”Nicole Chang”) - A few years after My Geisha, Maclaine played white playing Asian again in this crime caper starring Michael Caine, but this time her primary character is apparently part-Asian already, hence her surname, Chang. So, I guess she’s more like Eurasian playing more exaggerated Asian. Shanghai Noon (”Chon Wang”) - Did you know that Chinese and Native Americans look the same? You don’t even have to do anything cosmetic. Well, maybe some war paint. Otherwise, just put some Native American dress on Jackie Chan, and he’ll pass as an Injun. Or a Jew? (see this gag). Once Upon a Time in China and America (”Wong Fei-Hung”) - In that part of Shanghai Noon, Chan’s racial “transformation” was likely referencing this film, directed by his oft-collaborator Sammo Hung Kam-Bo, in which an amnesia-inflicted Jet Li mistakes himself for Native American. Which is even more ridiculous when considering that all the Native Americans in this sixth installment of the Once Upon a Time in China series were apparently played by white actors. Black Like Me (”John Finley Horton”) - The problem with this adaptation of John Howard Griffin’s memoir is that James Whitmore doesn’t look all that convincing as a black guy. Eddie Murphy was more convincing the other way around in the old SNL skit when he goes undercover as a white man. Soul Man (”Mark Watson”) - Even C. Thomas Howell looked more black in this unofficial remake. The thing I truly don’t buy with this movie, though, is how Rae Dawn Chong’s character forgives him and even falls for him at the end despite the fact that he pretended to be another race to win the scholarship she should have won. That couple belongs on the list I compiled earlier this year of romances that probably didn’t last. True Identity (”Miles Pope”) - Going back to the Eddie Murphy thing, I never realized that this early ’90s comedy was actually a feature-length spin-off of that SNL skit (both were written by Andy Breckman) combined with the ol’ accidental murder witness plot of Some Like It Hot, Pineapple Express, etc. Here, the witness is a black actor (British comedian Lenny Henry) who disguises himself as white. I’ve never seen True Identity, nor can I even find any stills from the movie (the image above comes from the Siskel & Ebert review), but in the Washington Post review, Henry is said to resemble Mr. Potato Head more than an actual white guy. Trading Places (”Louis Winthorpe III”) - Another Eddie Murphy connection. Here it’s Dan Aykroyd, though, whose character changes race. Let me tell you: I know this reggae singer who sounds authentically Jamaican and almost seems to think he’s actually Jamaican. But he’s still just a white guy in dreads. Yet I have to give him credit for being more passable as Jamaican than Louis. Silver Streak (”George Cardwell”) - Maybe it’s just easier to fool people on trains. A few years before Aykroyd’s character did it in Trading Places, Gene Wilder’s character attempted to look black in order to sneak past some cops and get onto a train. I get the tradition to portray policemen as stupid, but nobody is that stupid. The Master of Disguise (”Pistachio Disguisey”) - Among the many disguises Dana Carvey’s character takes on in this lame comedy, a few are offensively ethnic, including Indian and Cuban (really just an impersonation of Al Pacino as Tony Montana from Scarface). The fact that this guy is supposed to be the greatest master of disguises is upsetting. The fact that so many children saw the thing was even more upsetting. Zelig (”Leonard Zelig”) - The titular “Chameleon Man” character of Woody Allen’s mockumentary also “becomes” other ethnicities, such as African American, Chinese and Native American. The fact that he always still just looks like Woody Allen is part of the joke, though. Torch Song (”Jenny Stewart”) - Most of the time I don’t even buy Joan Crawford as a white woman, but in this movie her character performs in blackface for the infamous number “Two Faced Woman,” and she looks even less authentic as an African American woman. Maybe one day I’ll figure out what race and gender I would have actually accepted her as. Sexless alien creature? (YouTube clip, unauthorized for embedding, can be found here). L’eclisse (”Vittoria”) - Maybe I’m just used to seeing women with too much bronzer or too many tanning salon visits, but when Monica Vitti’s character goes blackface for a tribal dance in this Antonioni film, she simply looks like a white girl who has darkened her skin. I guess she’s not really trying to pass (neither is Crawford in Torch Song), but her costume isn’t traditional minstrel-type blackface, either. Krippendorf’s Tribe (”Shelly Krippendorf”) - To produce a fake documentary program on a made up lost tribe, James Krippendorf (Richard Dreyfuss) disguises his children in black skin and junky tribal costume. But as even his daughter (Natasha Lyonne) admits, she looks more like Tammy Faye Baker than a native of New Guinea. White Chicks (”Kevin Copeland” and “Marcus Copeland”) - Quite possibly the least convincing racial disguises of all time, Shawn and Marlon Wayans play two FBI agents (so I guess this list is actually of 16 characters) who go undercover as Paris Hilton types. But they look like a cross between a Michael Jackson Halloween mask and Eric Stoltz in Mask. Originally posted on:SpoutBlog
]]>Fri, 08 Aug 2008 18:00:37 GMTSpoutBlogSpoutBlog on spout.com8/8/2008 2:00:37 PM Yesterday’s list dealt with Tom Cruise’s performance in Tropic Thunder. Today, a response to Robert Downey Jr.’s role in the same film as a white actor portraying a black soldier in a war movie (seen in the above clip). Doesn’t it seem such an original and shocking idea? I guess not if you see it as an update on blackface. Fortunately, it’s different when it’s an actor playing a character who makes himself up to look black. It’s funny. But isn’t it typically more acceptable when the make-up isn’t quite as authentic-looking as Downey’s? He actually looks black. Specifically, he looks like Fred Williamson. I’ve seen plenty of lists detailing the worst instances of one race or nationality playing characters of another race/nationality (John Wayne and Susan Hayward in The Conqueror comes to mind as #1), but I can’t recall any lists involving actors playing characters disguised as or playing another race. So here’s one: My Geisha (”Lucy Dell”/”Yoko Mori”) - Shirley Maclaine is an American movie star who fools her filmmaker husband when she disguises herself as Japanese in order to win the lead role in his latest movie. She’s so good that throughout the whole production, he thinks he’s shamefully falling for a woman who isn’t his wife. But really, she’s not so much passing for Japanese as she is passing for the look of a geisha, which itself is not an ethnicity but a costume. Still, the makeup designer (Shu Uemura) pinned Maclaine’s eyes back in a way that wasn’t always done for “yellowface” in Hollywood films. The method (seen here) looks like it must have been excruciatingly painful. Gambit (”Nicole Chang”) - A few years after My Geisha, Maclaine played white playing Asian again in this crime caper starring Michael Caine, but this time her primary character is apparently part-Asian already, hence her surname, Chang. So, I guess she’s more like Eurasian playing more exaggerated Asian. Shanghai Noon (”Chon Wang”) - Did you know that Chinese and Native Americans look the same? You don’t even have to do anything cosmetic. Well, maybe some war paint. Otherwise, just put some Native American dress on Jackie Chan, and he’ll pass as an Injun. Or a Jew? (see this gag). Once Upon a Time in China and America (”Wong Fei-Hung”) - In that part of Shanghai Noon, Chan’s racial “transformation” was likely referencing this film, directed by his oft-collaborator Sammo Hung Kam-Bo, in which an amnesia-inflicted Jet Li mistakes himself for Native American. Which is even more ridiculous when considering that all the Native Americans in this sixth installment of the Once Upon a Time in China series were apparently played by white actors. Black Like Me (”John Finley Horton”) - The problem with this adaptation of John Howard Griffin’s memoir is that James Whitmore doesn’t look all that convincing as a black guy. Eddie Murphy was more convincing the other way around in the old SNL skit when he goes undercover as a white man. Soul Man (”Mark Watson”) - Even C. Thomas Howell looked more black in this unofficial remake. The thing I truly don’t buy with this movie, though, is how Rae Dawn Chong’s character forgives him and even falls for him at the end despite the fact that he pretended to be another race to win the scholarship she should have won. That couple belongs on the list I compiled earlier this year of romances that probably didn’t last. True Identity (”Miles Pope”) - Going back to the Eddie Murphy thing, I never realized that this early ’90s comedy was actually a feature-length spin-off of that SNL skit (both were written by Andy Breckman) combined with the ol’ accidental murder witness plot of Some Like It Hot, Pineapple Express, etc. Here, the witness is a black actor (British comedian Lenny Henry) who disguises himself as white. I’ve never seen True Identity, nor can I even find any stills from the movie (the image above comes from the Siskel & Ebert review), but in the Washington Post review, Henry is said to resemble Mr. Potato Head more than an actual white guy. Trading Places (”Louis Winthorpe III”) - Another Eddie Murphy connection. Here it’s Dan Aykroyd, though, whose character changes race. Let me tell you: I know this reggae singer who sounds authentically Jamaican and almost seems to think he’s actually Jamaican. But he’s still just a white guy in dreads. Yet I have to give him credit for being more passable as Jamaican than Louis. Silver Streak (”George Cardwell”) - Maybe it’s just easier to fool people on trains. A few years before Aykroyd’s character did it in Trading Places, Gene Wilder’s character attempted to look black in order to sneak past some cops and get onto a train. I get the tradition to portray policemen as stupid, but nobody is that stupid. The Master of Disguise (”Pistachio Disguisey”) - Among the many disguises Dana Carvey’s character takes on in this lame comedy, a few are offensively ethnic, including Indian and Cuban (really just an impersonation of Al Pacino as Tony Montana from Scarface). The fact that this guy is supposed to be the greatest master of disguises is upsetting. The fact that so many children saw the thing was even more upsetting. Zelig (”Leonard Zelig”) - The titular “Chameleon Man” character of Woody Allen’s mockumentary also “becomes” other ethnicities, such as African American, Chinese and Native American. The fact that he always still just looks like Woody Allen is part of the joke, though. Torch Song (”Jenny Stewart”) - Most of the time I don’t even buy Joan Crawford as a white woman, but in this movie her character performs in blackface for the infamous number “Two Faced Woman,” and she looks even less authentic as an African American woman. Maybe one day I’ll figure out what race and gender I would have actually accepted her as. Sexless alien creature? (YouTube clip, unauthorized for embedding, can be found here). L’eclisse (”Vittoria”) - Maybe I’m just used to seeing women with too much bronzer or too many tanning salon visits, but when Monica Vitti’s character goes blackface for a tribal dance in this Antonioni film, she simply looks like a white girl who has darkened her skin. I guess she’s not really trying to pass (neither is Crawford in Torch Song), but her costume isn’t traditional minstrel-type blackface, either. Krippendorf’s Tribe (”Shelly Krippendorf”) - To produce a fake documentary program on a made up lost tribe, James Krippendorf (Richard Dreyfuss) disguises his children in black skin and junky tribal costume. But as even his daughter (Natasha Lyonne) admits, she looks more like Tammy Faye Baker than a native of New Guinea. White Chicks (”Kevin Copeland” and “Marcus Copeland”) - Quite possibly the least convincing racial disguises of all time, Shawn and Marlon Wayans play two FBI agents (so I guess this list is actually of 16 characters) who go undercover as Paris Hilton types. But they look like a cross between a Michael Jackson Halloween mask and Eric Stoltz in Mask. Originally posted on:SpoutBlog Spout Post: Scarface - Watching the 1000 Greatest Films http://www.spout.com/blogs/ibetolis/archive/2008/7/29/33253.aspx

Post By: Ibetolis
Post To: Film for the Soul
Post Date: 7/29/2008 6:03:20 PM
Body: No. 10 - Scarface (Brian De Palma, 1983)Ranked - #571'In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the women.' (Tony Montana)I'm pushed to answer whether I like Brian De Palma's work or merely appreciate it. Carrie became something of a favourite of mine when I too was that gawky teenager at school, the ultimate revenge movie carefully constructed and executed. I've never felt the same affinity with the handful of De Palma films I've seen since; The pleasant but unremarkable The Untouchables, Carlito's Way didn't exactly inspire me to watch more of his work and Mission: Impossible just didn't do it for me, in fact I just hated it.De Palma's Scarface is a remake of Howard Hawks 1932 gangster film of the same name, (a film that also appears on this list) which follows the rapid rise and fall of Tony Montana (Al Pacino) a Cuban émigré that becomes a criminal king pin in 1980's Miami. Using the gangster genre as analogy of the American Dream is a well worn formula; those classic gangster films of the 30's such as Public Enemy and The Roaring Twenties, to the 70's with the Godfather films up to the 90's with Goodfellas, it's ruthless clamouring of power echoes contradictions central to American capitalism. Tony Montana deep in the world he coveted for so long; gaudy, tasteless and sleazyCentering on the 1980 Mariel Boatlift movement, Scarface begins with Tony Montana, along with his best friend Manny Ray (Steven Bauer), claiming asylum in Florida whilst being detained in a camp, ironically named Freedomtown, with their fellow countrymen. At the request of a powerful gangster, Frank Lopez (Robert Loggia) Montana kills a former aide of Castro in the camp and in doing so he's able to seat himself in the underworld. Following a run in with Lopez's henchman, Montana takes a job picking up cocaine from a Colombian dealer which leads to the films infamous scene of extreme violence, involving an imaginative, if somewhat disturbing, use of a chainsaw.Shocking chainsaw scene, not for the feint of heartScarface is a film of extremities, from uber cartoon violence, Al Pacino's over the top performance to Oliver Stone's cocaine addled script and De Palma's frenetic visual style which presents us with a tacky, gaudy, sleazy world. The films palate is rich with primary colours; you can almost smell the Armani suits, the crystal white beaches, Cadillac’s and money. Billboards and murals depict a paradise of sunsets and palm trees which hide the ugly reality of the drug world, and eventually serve as a backdrop for violence and murder. This is 80's greed is good with guns and violence, a monolithic monument to the era of excess and stupidity, all of Montana's wishes are granted with the aid of a gun. Yet all he conveys fail to make him happy as he slides in to a world of paranoia and loneliness, power brings him nothing but grief as he systematically destroys everything he once held dear, his wife Evita (played inanimately by Michelle Pfeiffer) a woman he wanted to possess more than love, his sister (Mary Elizabeth Mastrantonio) and tragically his best friend are all brought down one by one. Gun drenched final scene, a homage to the ending of 'The Wild Bunch' perhaps?As much as there is to admire in the films relentless and unapologetic bravado, the in-your-face morality tale which is about as subtle as a breeze block and its bold epic themes of power, money and ego, I felt that this film was quite a hollow experience. A case of style over substance, for all it's pop-art, trash aesthetics I can't help getting past the air of self-importance; why so dour and serious when in reality this is an exercise in trash fun? In summary Scarface appeared as overblown and bloated as the drug it was moralising over, an over-zealous and over the top production that really didn't do it for me. Originally posted on:Film for the Soul
]]>Tue, 29 Jul 2008 22:03:20 GMTIbetolisFilm for the Soul7/29/2008 6:03:20 PMNo. 10 - Scarface (Brian De Palma, 1983)Ranked - #571'In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the women.' (Tony Montana)I'm pushed to answer whether I like Brian De Palma's work or merely appreciate it. Carrie became something of a favourite of mine when I too was that gawky teenager at school, the ultimate revenge movie carefully constructed and executed. I've never felt the same affinity with the handful of De Palma films I've seen since; The pleasant but unremarkable The Untouchables, Carlito's Way didn't exactly inspire me to watch more of his work and Mission: Impossible just didn't do it for me, in fact I just hated it.De Palma's Scarface is a remake of Howard Hawks 1932 gangster film of the same name, (a film that also appears on this list) which follows the rapid rise and fall of Tony Montana (Al Pacino) a Cuban émigré that becomes a criminal king pin in 1980's Miami. Using the gangster genre as analogy of the American Dream is a well worn formula; those classic gangster films of the 30's such as Public Enemy and The Roaring Twenties, to the 70's with the Godfather films up to the 90's with Goodfellas, it's ruthless clamouring of power echoes contradictions central to American capitalism. Tony Montana deep in the world he coveted for so long; gaudy, tasteless and sleazyCentering on the 1980 Mariel Boatlift movement, Scarface begins with Tony Montana, along with his best friend Manny Ray (Steven Bauer), claiming asylum in Florida whilst being detained in a camp, ironically named Freedomtown, with their fellow countrymen. At the request of a powerful gangster, Frank Lopez (Robert Loggia) Montana kills a former aide of Castro in the camp and in doing so he's able to seat himself in the underworld. Following a run in with Lopez's henchman, Montana takes a job picking up cocaine from a Colombian dealer which leads to the films infamous scene of extreme violence, involving an imaginative, if somewhat disturbing, use of a chainsaw.Shocking chainsaw scene, not for the feint of heartScarface is a film of extremities, from uber cartoon violence, Al Pacino's over the top performance to Oliver Stone's cocaine addled script and De Palma's frenetic visual style which presents us with a tacky, gaudy, sleazy world. The films palate is rich with primary colours; you can almost smell the Armani suits, the crystal white beaches, Cadillac’s and money. Billboards and murals depict a paradise of sunsets and palm trees which hide the ugly reality of the drug world, and eventually serve as a backdrop for violence and murder. This is 80's greed is good with guns and violence, a monolithic monument to the era of excess and stupidity, all of Montana's wishes are granted with the aid of a gun. Yet all he conveys fail to make him happy as he slides in to a world of paranoia and loneliness, power brings him nothing but grief as he systematically destroys everything he once held dear, his wife Evita (played inanimately by Michelle Pfeiffer) a woman he wanted to possess more than love, his sister (Mary Elizabeth Mastrantonio) and tragically his best friend are all brought down one by one. Gun drenched final scene, a homage to the ending of 'The Wild Bunch' perhaps?As much as there is to admire in the films relentless and unapologetic bravado, the in-your-face morality tale which is about as subtle as a breeze block and its bold epic themes of power, money and ego, I felt that this film was quite a hollow experience. A case of style over substance, for all it's pop-art, trash aesthetics I can't help getting past the air of self-importance; why so dour and serious when in reality this is an exercise in trash fun? In summary Scarface appeared as overblown and bloated as the drug it was moralising over, an over-zealous and over the top production that really didn't do it for me. Originally posted on:Film for the Soul Spout Post: Re:A new pack of RESERVOIR DOGS (1992) http://www.spout.com/groups/Filmgaming/Re_A_new_pack_of_RESERVOIR_DOGS_1992/563/33049/1/ShowPost.aspx

Post By: superfastreader
Post To: Filmgaming
Post Date: 7/24/2008 5:00:02 PM
Body: Here it is--the all Al Pacino version of Reservoir Dogs. This is my first time contributing--love hearing the winners on Filmspotting! Carlito Brigante (Carlito's Way) ... Mr. WhiteBobby (Panic in Needle Park) ... Mr. OrangeTony Montana (Scarface) ... Mr. BlondeMichael Corleone (The Godfather) ... Nice Guy EddieRicky Roma (Glengarry Glen Ross) ... Mr. PinkJohn Milton (Devil's Advocate) ... Joe CabotLt. Col. Frank Slade (Scent of a Woman) ... Mr. BrownLowell Bergman (The Insider) ... Mr. BlueOfficer Frank Serpico (Serpico) ... Young Cop (gets ear cut off)Al Pacino (Looking for Richard) ... K-Billy DJ The song: http://www.weshow.com/us/p/14719/basenji_dog_sings
]]>Thu, 24 Jul 2008 21:00:02 GMTsuperfastreaderFilmgaming7/24/2008 5:00:02 PMHere it is--the all Al Pacino version of Reservoir Dogs. This is my first time contributing--love hearing the winners on Filmspotting! Carlito Brigante (Carlito's Way) ... Mr. WhiteBobby (Panic in Needle Park) ... Mr. OrangeTony Montana (Scarface) ... Mr. BlondeMichael Corleone (The Godfather) ... Nice Guy EddieRicky Roma (Glengarry Glen Ross) ... Mr. PinkJohn Milton (Devil's Advocate) ... Joe CabotLt. Col. Frank Slade (Scent of a Woman) ... Mr. BrownLowell Bergman (The Insider) ... Mr. BlueOfficer Frank Serpico (Serpico) ... Young Cop (gets ear cut off)Al Pacino (Looking for Richard) ... K-Billy DJ The song: http://www.weshow.com/us/p/14719/basenji_dog_sings Spout Post: FilmCouch #18 http://www.spout.com/blogs/paul/archive/2007/12/21/23044.aspx

Post By: paul
Post To: paul on spout.com
Post Date: 12/21/2007 4:15:14 PM
Body: Sympathy for the Devil: Summer blockbuster season starts today. It will rise and fall on whether or not the villains are convincing. Kevin and Paul believe it all boils down to answering one question: What makes the bad guys do mean things? Download FilmCouch #18 or subscribe in the iTunes store (search for “filmcouch” or click here to launch iTunes) and a new free episode will download every Friday. Under discussion: Unforgiven The Godfather Star Wars Scarface Originally posted on:SpoutBlog » Paul
]]>Fri, 21 Dec 2007 21:15:14 GMTpaulpaul on spout.com12/21/2007 4:15:14 PMSympathy for the Devil: Summer blockbuster season starts today. It will rise and fall on whether or not the villains are convincing. Kevin and Paul believe it all boils down to answering one question: What makes the bad guys do mean things? Download FilmCouch #18 or subscribe in the iTunes store (search for “filmcouch” or click here to launch iTunes) and a new free episode will download every Friday. Under discussion: Unforgiven The Godfather Star Wars Scarface Originally posted on:SpoutBlog » Paul Spout Post: Al Pacino's Greatest Rants http://www.spout.com/blogs/lopezdash/archive/2007/12/8/22635.aspx

Post By: lopezdash
Post To: The Movie Blog
Post Date: 12/8/2007 4:25:24 PM
Body: The high-quality magazine FHM has come out with a list of 10 of Al Pacino's Greatest Rants... And here it is:10. HeatMichael Mann’s classic crime drama casts Al Pacino as a Los Angeles detective trying to prevent a bank heist. He attempts to gain leverage over the wife of one of the robbers by going after a salesman with whom she’s been having an affair. When the chump asks himself why he was dumb enough to get mixed up with her, Pacino makes it clear—she’s got a great ass! Ferocious, isn’t he?http://www.youtube.com/watch?v=mlXpX3o3W2Q9. Carlito's WayAl Pacino’s first collaboration with director Brian De Palma since Scarface wastes no time giving fans what they want—a rant. As convicted drug dealer Carlito Brigante, Pacino is released from prison on a technicality but wishes to assure the court and the district attorney (James Rebhorn) that his dealing days are done. This rant stands out as one of the very few times where Pacino calmly executes a verbal ass-tearing without raising his voice.http://www.youtube.com/watch?v=r4qZX9mJp7Y8. Dick TracyProving a Pacino rant has its place in any cinematic setting, the legendary actor lays down gangster-land law as Big Boy Caprice in 1990’s comic-strip flick Dick Tracy. When all the major heads of the city’s crime families come together to hear Big Boy’s pitch for a unified organization, he offers a convincing explanation of why “it only works if we’re all in.”http://www.youtube.com/watch?v=hhgXWjUZIvE7. Dog Day Afternoon“Attica! Attica!” One of Pacino’s earliest films introduced the world to his unparalleled ranting ability. During a bank robbery where everything goes wrong, he finds himself in a standoff with the police. With no way out, he does all he can to rile up the crowds of people gathering outside in hopes of gaining the sympathy of the masses.http://www.youtube.com/watch?v=7oidSW_G67E6. Any Given SundayOne of the longest standing clichés of the sports movie genre is the inspirational locker-room speech. What sets Coach Pacino’s pep talk apart from all the others is the way he tears everything down, himself included, and then builds it all back up again. He isn’t preparing a team for a game—he’s preparing them for all-out war.http://www.youtube.com/watch?v=9rFx6OFooCs5. The InsiderBased on a true story, The Insider stars Pacino as a 60 Minutes producer who is attempting to air an interview with an ex-tobacco executive despite fierce resistance from the higher-ups. When the threat of a lawsuit looms over CBS, he is ordered to cut an alternate version of the story. As you may have guessed, he’s not having it. This scene features Christopher Plummer, who holds the honor of being the only person to ever take the wind out of Pacino’s sails while he’s on a rant.http://www.youtube.com/watch?v=ZIjpP-XngKA4. The Devil's AdvocateIn this 1997 flick, Pacino plays a wealthy New York lawyer — who is actually the devil. Big surprise, huh? In his attempt to win Keanu Reeves over to the dark side, he delivers this impassioned speech against his Lord and Creator. Sympathy for the Devil? It’s tempting, but the whole ‘eternal damnation’ thing probably isn’t as cool as he makes it sound.http://www.youtube.com/watch?v=gdam7qQMkzs3. ScarfaceEven larger-than-life cocaine czars find themselves stuck in a rut every now and again and ask themselves, ‘Is this it?’ They never seem to realize that the only place to go from the top is down—at least not until it’s too late. Of course, Tony Montana could blame his depression on the ruthless life of crime he leads. Instead, he blames everyone at the restaurant he’s eating in for not having the guts to be what they want to be.http://www.youtube.com/watch?v=S4K9u08iIK02. Scent of a WomanThis climactic scene immediately struck a chord with every high school kid who ever harbored a desire to unleash a flamethrower on their school. It also proves that Al Pacino, even blind and drunk, is better to have in your corner than a rich father. Also notice that Pacino is once again pitted against James Rebhorn, whom many people will recognize as “that guy who always plays a jerk."http://www.youtube.com/watch?v=nqsf0XynGz81. Glengarry Glen RossWhen top salesman Ricky Roma (Pacino) comes into work on Monday morning to find that the place has been robbed, it doesn’t upset him terribly. At least not until his idiot manager (Kevin Spacey) blows a big sale for him by saying exactly the wrong thing to a nervous client. The verbal tirade that ensues is nothing short of spectacular.http://www.youtube.com/watch?v=3HURJNd0J4U
]]>Sat, 08 Dec 2007 21:25:24 GMTlopezdashThe Movie Blog12/8/2007 4:25:24 PMThe high-quality magazine FHM has come out with a list of 10 of Al Pacino's Greatest Rants... And here it is:10. HeatMichael Mann’s classic crime drama casts Al Pacino as a Los Angeles detective trying to prevent a bank heist. He attempts to gain leverage over the wife of one of the robbers by going after a salesman with whom she’s been having an affair. When the chump asks himself why he was dumb enough to get mixed up with her, Pacino makes it clear—she’s got a great ass! Ferocious, isn’t he?http://www.youtube.com/watch?v=mlXpX3o3W2Q9. Carlito's WayAl Pacino’s first collaboration with director Brian De Palma since Scarface wastes no time giving fans what they want—a rant. As convicted drug dealer Carlito Brigante, Pacino is released from prison on a technicality but wishes to assure the court and the district attorney (James Rebhorn) that his dealing days are done. This rant stands out as one of the very few times where Pacino calmly executes a verbal ass-tearing without raising his voice.http://www.youtube.com/watch?v=r4qZX9mJp7Y8. Dick TracyProving a Pacino rant has its place in any cinematic setting, the legendary actor lays down gangster-land law as Big Boy Caprice in 1990’s comic-strip flick Dick Tracy. When all the major heads of the city’s crime families come together to hear Big Boy’s pitch for a unified organization, he offers a convincing explanation of why “it only works if we’re all in.”http://www.youtube.com/watch?v=hhgXWjUZIvE7. Dog Day Afternoon“Attica! Attica!” One of Pacino’s earliest films introduced the world to his unparalleled ranting ability. During a bank robbery where everything goes wrong, he finds himself in a standoff with the police. With no way out, he does all he can to rile up the crowds of people gathering outside in hopes of gaining the sympathy of the masses.http://www.youtube.com/watch?v=7oidSW_G67E6. Any Given SundayOne of the longest standing clichés of the sports movie genre is the inspirational locker-room speech. What sets Coach Pacino’s pep talk apart from all the others is the way he tears everything down, himself included, and then builds it all back up again. He isn’t preparing a team for a game—he’s preparing them for all-out war.http://www.youtube.com/watch?v=9rFx6OFooCs5. The InsiderBased on a true story, The Insider stars Pacino as a 60 Minutes producer who is attempting to air an interview with an ex-tobacco executive despite fierce resistance from the higher-ups. When the threat of a lawsuit looms over CBS, he is ordered to cut an alternate version of the story. As you may have guessed, he’s not having it. This scene features Christopher Plummer, who holds the honor of being the only person to ever take the wind out of Pacino’s sails while he’s on a rant.http://www.youtube.com/watch?v=ZIjpP-XngKA4. The Devil's AdvocateIn this 1997 flick, Pacino plays a wealthy New York lawyer — who is actually the devil. Big surprise, huh? In his attempt to win Keanu Reeves over to the dark side, he delivers this impassioned speech against his Lord and Creator. Sympathy for the Devil? It’s tempting, but the whole ‘eternal damnation’ thing probably isn’t as cool as he makes it sound.http://www.youtube.com/watch?v=gdam7qQMkzs3. ScarfaceEven larger-than-life cocaine czars find themselves stuck in a rut every now and again and ask themselves, ‘Is this it?’ They never seem to realize that the only place to go from the top is down—at least not until it’s too late. Of course, Tony Montana could blame his depression on the ruthless life of crime he leads. Instead, he blames everyone at the restaurant he’s eating in for not having the guts to be what they want to be.http://www.youtube.com/watch?v=S4K9u08iIK02. Scent of a WomanThis climactic scene immediately struck a chord with every high school kid who ever harbored a desire to unleash a flamethrower on their school. It also proves that Al Pacino, even blind and drunk, is better to have in your corner than a rich father. Also notice that Pacino is once again pitted against James Rebhorn, whom many people will recognize as “that guy who always plays a jerk."http://www.youtube.com/watch?v=nqsf0XynGz81. Glengarry Glen RossWhen top salesman Ricky Roma (Pacino) comes into work on Monday morning to find that the place has been robbed, it doesn’t upset him terribly. At least not until his idiot manager (Kevin Spacey) blows a big sale for him by saying exactly the wrong thing to a nervous client. The verbal tirade that ensues is nothing short of spectacular.http://www.youtube.com/watch?v=3HURJNd0J4U Spout Post: How'd You Get That Scar? http://www.spout.com/blogs/jakestevens/archive/2007/11/20/21829.aspx

Post By: JakeStevens
Post To: JakeStevens Blog
Post Date: 11/20/2007 12:30:20 AM
Body: I really can't say I watch this film very often, mainly because it's hard to watch. I'm not talking about Pacino's acting (which is WAY over the top, even for him), I'm talking about the brutality and the harsh language and the situations that Tony Montana seems to get himself into. When he makes yet another bad decision, you can't help but shake your head. But in any case, it's still an interesting story told with much pizzazz. It's like a train wreck - you CAN'T look away...you HAVE TO see what's coming next. And really, isn't that the point of a film?
]]>Tue, 20 Nov 2007 05:30:20 GMTJakeStevensJakeStevens Blog11/20/2007 12:30:20 AMI really can't say I watch this film very often, mainly because it's hard to watch. I'm not talking about Pacino's acting (which is WAY over the top, even for him), I'm talking about the brutality and the harsh language and the situations that Tony Montana seems to get himself into. When he makes yet another bad decision, you can't help but shake your head. But in any case, it's still an interesting story told with much pizzazz. It's like a train wreck - you CAN'T look away...you HAVE TO see what's coming next. And really, isn't that the point of a film? Spout Post: My favourite film! http://www.spout.com/blogs/el_aaron/archive/2007/6/23/11820.aspx

Post By: El_Aaron
Post To: El_Aaron Blog
Post Date: 6/23/2007 3:17:44 PM
Body: No actor could be better than Al Pacino. He has been around for a long time, and can produce an outstanding role. This is probably his best. He makes the perfect gangster.
]]>Sat, 23 Jun 2007 19:17:44 GMTEl_AaronEl_Aaron Blog6/23/2007 3:17:44 PMNo actor could be better than Al Pacino. He has been around for a long time, and can produce an outstanding role. This is probably his best. He makes the perfect gangster. Spout Tag:Classic http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
Number of films tagged: 816

Number of people who tagged: 313

Number of times used: 1454

]]>Sat, 19 Dec 2009 23:30:46 GMT8163131454Tag Spout Tag:family http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
Number of films tagged: 6289

Number of people who tagged: 227

Number of times used: 1139

]]>Sun, 20 Dec 2009 21:00:49 GMT62892271139Tag Spout Tag:murder http://www.spout.com/members/0/tags/murder/MemberTagFilms.aspxmurder
Number of films tagged: 8748

Number of people who tagged: 157

Number of times used: 831

]]>Sun, 20 Dec 2009 18:42:29 GMT8748157831Tag Spout Tag:friendship http://www.spout.com/members/0/tags/friendship/MemberTagFilms.aspxfriendship
Number of films tagged: 6791

Number of people who tagged: 154

Number of times used: 980

]]>Mon, 14 Dec 2009 22:42:20 GMT6791154980Tag Spout Tag:drugs http://www.spout.com/members/0/tags/drugs/MemberTagFilms.aspxdrugs
Number of films tagged: 1643

Number of people who tagged: 130

Number of times used: 489

]]>Sun, 20 Dec 2009 18:42:19 GMT1643130489Tag Spout Tag:crime http://www.spout.com/members/0/tags/crime/MemberTagFilms.aspxcrime
Number of films tagged: 401

Number of people who tagged: 70

Number of times used: 303

]]>Fri, 20 Nov 2009 18:51:32 GMT40170303Tag Spout Tag:blood http://www.spout.com/members/0/tags/blood/MemberTagFilms.aspxblood
Number of films tagged: 382

Number of people who tagged: 64

Number of times used: 155

]]>Fri, 04 Dec 2009 18:50:21 GMT38264155Tag Spout Tag:betrayal http://www.spout.com/members/0/tags/betrayal/MemberTagFilms.aspxbetrayal
Number of films tagged: 1035

Number of people who tagged: 62

Number of times used: 155

]]>Sun, 20 Dec 2009 18:42:32 GMT103562155Tag Spout Tag:prison http://www.spout.com/members/0/tags/prison/MemberTagFilms.aspxprison
Number of films tagged: 2437

Number of people who tagged: 62

Number of times used: 167

]]>Tue, 01 Dec 2009 19:02:27 GMT243762167Tag Spout Tag:gangster http://www.spout.com/members/0/tags/gangster/MemberTagFilms.aspxgangster
Number of films tagged: 4065

Number of people who tagged: 60

Number of times used: 145

]]>Mon, 17 Aug 2009 01:37:08 GMT406560145Tag Spout Tag:addiction http://www.spout.com/members/0/tags/addiction/MemberTagFilms.aspxaddiction
Number of films tagged: 553

Number of people who tagged: 59

Number of times used: 117

]]>Tue, 15 Sep 2009 19:57:35 GMT55359117Tag Spout Tag:dancing http://www.spout.com/members/0/tags/dancing/MemberTagFilms.aspxdancing
Number of films tagged: 94

Number of people who tagged: 49

Number of times used: 131

]]>Thu, 05 Nov 2009 22:25:46 GMT9449131Tag Spout Tag:money http://www.spout.com/members/0/tags/money/MemberTagFilms.aspxmoney
Number of films tagged: 508

Number of people who tagged: 46

Number of times used: 145

]]>Tue, 24 Nov 2009 21:03:25 GMT50846145Tag Spout Tag:assassination http://www.spout.com/members/0/tags/assassination/MemberTagFilms.aspxassassination
Number of films tagged: 1052

Number of people who tagged: 44

Number of times used: 90

]]>Wed, 26 Aug 2009 17:55:14 GMT10524490Tag Spout Tag:guns http://www.spout.com/members/0/tags/guns/MemberTagFilms.aspxguns
Number of films tagged: 103

Number of people who tagged: 42

Number of times used: 125

]]>Mon, 30 Nov 2009 04:32:56 GMT10342125Tag