Scarface: A Vergonha de uma Nação

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.