Bovie Movie

Completed in mid-1930, Scarface, based on Armitage Trail’s novel of the same name, might have been the first of the great talkie gangster flicks, but it was held up for release until after that honor was jointly usurped by Little Caesar and Public Enemy. Paul Muni stars as prohibition-era mobster Tony Camonte, a character obviously patterned on Al Capone (whose nickname was “Scarface”). The homicidal Camonte ruthlessly wrests control of the bootlegging racket from his boss, Johnny Lovo (Osgood Perkins), and claims Lovo’s mistress, Poppy (Karen Morley), in the bargain. But while Poppy satisfies him sexually, Tony has a soft spot in his heart only for his sister Cesca (Ann Dvorak). The film’s finale is one of the longest and bloodiest of the 1930s, maintaining suspense and concern for the characters involved even though Muni has deliberately done nothing to make Tony likeable to audience. The grimness of Scarface is leavened by a few choice moments of black humor. Forced to leave a stage production of Rain in order to commit a murder, Tony returns to his theater seat and anxiously asks his buddies how the play came out. Some of the film’s funniest moments belong to Vince Barnett as the mentally deficient, illiterate gangster secretary, who at one juncture gets so mad at a caller on the phone that he shoots the receiver. Scarface features a famous “‘X’ Marks The Spot” logo, inspired by news photos of gangland murders: whenever a character is killed, the letter “X” appears on screen in one form or another. Example: When a rival gangster (played by Boris Karloff) is killed at a bowling alley, the camera cuts to his bowling ball knocking down all the pins — a strike, denoted, of course, by an “X.” Producer Howard R. Hughes couldn’t release Scarface until he toned down some of the violence, reshot certain scenes to avoid libel suits, added the subtitle “The Shame of the Nation” to the opening credits, and shoehorned in new scenes showing upright Italian-Americans banding together to wipe out gangsterism. After its first run, Scarface was completely withdrawn from distribution on Hughes’ orders; the film would not be seen again on a widespread basis until it was reissued by Universal in 1979, shorn of 8 of its original 99 minutes.

Veteran actor Andy Garcia steps into the director’s chair for his first voyage into feature filmmaking with this heartfelt tribute to revolutionary, late-’50s-era Cuba featuring Dustin Hoffman, Bill Murray, Tomas Milian, and offering the director himself in the starring role. Fico Fellove (Garcia) is the politically neutral owner of the El Tropico nightclub who seeks shelter from the winds of change behind the crowded bar of his flourishing business. Unfortunately for Fico, the blood of the revolution flows deep within the veins of his passionate brothers, and it’s only a matter of time before both the club owner, and his distinguished father, are forced to face the prospect of having their lives forever changed despite their indifference to the violence that surrounds them.

Enigmatic rock legend Bob Dylan stars as an enigmatic rock legend (talk about a casting coup!) in this purposefully eccentric satiric comedy. Uncle Sweetheart (John Goodman) is an unscrupulous concert promoter who has figured out a way to cash in on the feelings of doubt and uncertainty that plague his nation, which is being torn apart by civil war and political revolution. Sweetheart has decided he will stage a massive benefit concert, though the unnamed charity would appear to be his checking account. Sweetheart hires television producer Nina Veronica (Jessica Lange) to help promote the show and sell it as a nation-wide cable-cast event, while Sweetheart pulls a few strings to arrange for the perfect headliner — Jack Fate (Bob Dylan), a legendary songwriter who is currently serving a term in prison. With Fate out from behind bars, Sweetheart and Veronica set out to sell their grand spectacle to the world, though one determined investigative journalist (Jeff Bridges) has set out to throw a spenner into the works of Uncle Sweetheart and his epic fundraiser. Marking the directorial debut of comedy writer Larry Charles, Masked and Anonymous also features Penelope Cruz and Luke Wilson; the film was shown in competition at the 2003 Sundance Film Festival.