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Humanizing The Monster In Scarface

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Humanizing The Monster In Scarface
The Beauty Behind the Beast: Humanizing the Monster in Scarface Through the Use of Mise-en-scene

When Howard Hawk’s Scarface was first screened to the public in 1932, it was in limited release due to disagreements on censorship with the Hays Office. The production code was implemented to protect the public from violent, sexual, and morally corrupt films, so it could be assumed that such a code had been put in place because people did not want to see such films. However, Scarface was a blockbuster success. People wanted to see a movie that glorified the gangster life, but why? Was the public simply bloodthirsty? It could be argued that people did not go to see Scarface because it showed the monster inside the human, but the human inside the monster. The idea is simple: take obvious “monsters” and slowly reveal their human side; the concept is so compelling because it is so counterintuitive. Through the use of mise-en-scene, Hawks is able to humanize his violent protagonist. In the
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By hiding certain details, Hawks has managed to keep the audience on Tony’s side. However, with all the details now in high relief, there is little to keep the audience from turning against Tony. Though the film is nearly over by the time Tony has Johnny killed, there is still one wildcard left in the story: Cesca. Her allegiances have yet to be established. There are other questions as well, such as: How much does she know about her brother’s work? Will she side with her mother or her brother? Not only does Cesca’s uncertain position have the potential to throw a monkey-wrench into Tony and Guino’s plans, but she is both men’s only weakness. Both men make dangerous mistakes when it comes to Cesca. Tony’s possessive obsession with his sister nearly gets him killed. Guino, Tony’s most trusted right-hand-man, chooses Cesca over Tony, destroying their bond

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