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 After its first run, Scarface was completely withdrawn from distribution on Hughes’ orders; the film would not be seen again on a widespread basis until it was reissued by Universal in 1979, shorn of 8 of its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.

A man struggling to come to terms with the sins of his father makes the terrible discovery that his own son has fallen into a life of crime in a drama based on a true story. Vincent LaMarca (Robert DeNiro) is a dedicated and well-respected New York City police detective who has gone to great lengths to distance himself from his past; four decades earlier, Vincent’s father Angelo killed a young child, and since then Vincent has carried emotional scars from this incident that he refuses to show to the world. Vincent lives alone in a small apartment building, though he has nurtured a close if tentative relationship with his downstairs neighbor, Michelle (Frances McDormand). One day, Vincent and his partner, Reg Duffy (George Dzundza), are assigned to investigate a murder when the body of a young man is found dead in a dumpster. It turns out the body was that of a drug dealer, and the dealer’s partner in crime, Spyder (William Forsythe), believes the killer was one of his regular customers — a junkie would-be musician who calls himself Snake (Brian Tarantina). City By the Sea was adapted from a piece by journalist Mike McAlary which first appeared in Esquire magazine; the cast also includes Eliza Dushku and Anson Mount.

A Perfect Murder is based on Frederick Knott’s play Dial M for Murder, filmed by Alfred Hitchcock in 1954. Married to commodities trader Stephen Taylor (Michael Douglas), Emily Bradford (Gwyneth Paltrow) is romantically involved with artist David Shaw (Viggo Mortensen). Aware of this affair, Stephen researches David’s past, visits his loft studio, and informs David that he knows about his aliases, jail sentences, and various cons and scams directed at rich women. Then Stephen offers David $500,000 to murder Emily, and David agrees. The plan is calculated to make the murder look like an accident, but events soon go on an unscheduled course. Enter Detective Mohamed Karaman (David Suchet). Knott’s original play opened June 1952 in London, followed by a New York run that began October 1952. Several books and sources describe how Hitchcock’s film was made in 3-D but neglect to mention that, despite trade screenings in 3-D, Dial M for Murder was originally released in 1954 with ordinary, flat 2-D prints. It was finally shown to audiences in 3-D during the mid-’80s.