It seems we’re getting “Scarface” back – that tale of a Cuban émigré kept locked up by Fidel Castro (for good reason, he’s a thug) until it was to the Cuban government’s advantage to dump him on the United States.
In fact, the early moments of that film from 1983 might have you think that you’re about to watch a serious film about one of the Mariel immigrants – those Cubanos who came in the early 1980s when Castro responded to international complaints that he wasn’t letting people leave his country by opening up his jails and mental hospitals.
MANY OF THOSE people immediately fled for Miami, where they were accepted by a U.S. government that was used to accepting Cubans as a way to spite Castro – not realizing that he was spite-ing us this time. Yet another chapter in the often silly saga of contemporary U.S./Cuba relations.
In that context, “Scarface’ was a fictional film that played off of what was happening at the time. It was made when the memories of the Mariel boat people (named for the fact that they left Cuba on boats departing the Mariel Harbor in Havana during the spring and summer of 1980).
But anybody who has ever seen the film realizes that history or sociology or a reflection of culture was the last thing that “Scarface” producers had in mind when they created the tale of Tony Montana – the Cubano hood who terrorized Miami and took over the drug trade in as violent a manner as was cinematically possible.
I may well be among the few people who even pays much attention to those early scenes of the film. Everybody else wants to see body parts hacked off and see actor Al Pacino brandishing his pistol while saying in the oft-imitated (and usually very poorly) phrase, “Say hello to my little friend!”
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| The real Mariel processing center |
ABOUT THE ONLY thing I can say about Scarface and its reflection of that particular wave of Cuban exiles is that it is more historically accurate than “The Godfather, Part II” – which included that sub-plot by which Pacino’s Michael Corleone character IS one of the gangsters who runs those casinos that get chased out of Havana when the Castro revolution takes hold on New Year’s Day of 1959.
Total fiction, although it created another oft-imitated movie moment when Pacino’s Corleone tells his brother, Fredo (the left-us-way-too-soon actor John Cazale), “I know it was you, Fredo. You broke my heart” – essentially condemning him to death.
I’m starting to think that the only thing we need now is Pacino in a film about the Bay of Pigs in which he plays a part of someone who helped to coordinate the ultimately-unsuccessfull attempt to spark an uprising by the Cuban people against Castro.
Now what motivates me to think of “Scarface,” a film that I must admit I ignored when it came out in theaters because it looked so ridiculously over-the-top that I couldn’t take it seriously on any level!
I HAVE SEEN it a few times since then, and it seems my initial judgment was correct.
But there are those who get off on the over-the-top nature of the film. It has become a staple of the hip-hop scene, which is why it is getting a one-day re-release in movie theaters (it may turn up on Wednesday at a screen near you). And we’re also going to see yet another video version being released (specifically for those who feel the need to have blu-ray disc players).
I only hope enough people realize they’re not getting anything close to resembling reality. For one thing, there was only one Cubano cast in a significant role in the film – and reports of the time indicate that John Travolta nearly got a significant role in this film.
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