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Transcript

Scarface (1983) · Citizen Frame

• 0:00
  Do you know what I'm talking about, you fucking cockroach? What are you talking
• 0:04
  about? Come on, you listen to me, huh?
• 0:07
  Do you know what a hush is, friend? That's a pig. That don't fly straight.
• 0:13
  Neither do you. Who the fuck would have hurt you?
• 0:17
  I approach real. So we had a few differences, huh? No big deal.
• 0:23
  I gave you your start. I was the one who believed in you. I stay loyal to you.
• 0:28
  I made what I could on the side. But I never turned you, friend. Never.
• 0:32
  Music.
• 0:42
  Say hello to my little friend.
• 0:47
  Hey, everybody. Welcome back to another exciting episode of Citizen Frame.
• 0:53
  And it's not horror. That's right. We decided to tackle a couple bad boys.
• 0:58
  A couple of gangster We haven't talked gangster in a while I don't think we've
• 1:02
  talked gangster period Well Have we?
• 1:05
  Well, Warriors Warriors are kind of gangsters Yeah, that's more street gang
• 1:11
  But this is like proper sort of gangster No, no, what did The Long Good Friday?
• 1:16
  Yes, yes, okay We did The Long Good Friday Yep, Bob Hoskins First time watching
• 1:23
  that I actually really enjoyed that one Yeah, so So my boy, Brian De Palma,
• 1:28
  let's get this out of the way. Fucking genius. Loved De Palma.
• 1:32
  Everything he touched. Kind of faded now. His last good movie was Snake Eyes,
• 1:36
  which nobody liked, but I love it. Did Nicolas Cage. Yeah.
• 1:39
  And he kind of took past the, it's like Hitchcock almost passed the torch to him.
• 1:44
  Because he does, he plays a lot of homage. We say rip off, but I don't think that is.
• 1:49
  I think a lot of homage to Hitchcock in a lot of his films.
• 1:52
  Definitely. You'll see it in Carrie. You'll see it in Dressed to Kill. you'll see
• 1:55
  it definitely blow out you'll see it in Body Double
• 1:58
  if you see it in Untouchables you'll see it in these
• 2:01
  two films which is Scarface on Carlito's Way
• 2:04
  because we're going to talk two of the big ones both directed
• 2:07
  by De Palma both produced by producing great
• 2:10
  Martin Bregman so we're going to start with Scarface
• 2:13
  1983 Scarface and then we're going to do another podcast on Carlito's Way I
• 2:19
  can't say Carlito without saying Carlito in a Puerto Rican accent which was
• 2:24
  a terrible Puerto Rican accent actually by me well you know you know what he
• 2:28
  went from Cuban to Puerto Rican wow it's not bad for an Italian American you know.
• 2:34
  Yeah, so 1983, this was on the tier at the end of, we talked about this with
• 2:39
  the Warriors, with gritty crime drama disappearing, and then it blended into a Camp Cheese,
• 2:45
  which will go into, you know, Lethal Weapons and Tango and Cash,
• 2:49
  you know, the over-the-top actioneers would overtake the gritty crime dramas.
• 2:55
  This was coming at the tail end of that. This is one of the last ones.
• 2:59
  I remember watching this and thinking, God, is it still cheesy in camp?
• 3:03
  It's not. This is a dark film.
• 3:05
  De Palma, I finally read it up. De Palma says he wasn't going for cheese.
• 3:08
  He wasn't going for camp.
• 3:10
  In fact, he fought hard to keep this bully.
• 3:13
  This thing was edited to shreds. The MPAA raped it. Yeah.
• 3:18
  And so, one thing I never, fun fact, I never understood.
• 3:26
  He was nominated for a Razzie for Best Director.
• 3:29
  And nobody, even I think the Razzies didn't understand why they did that.
• 3:33
  Didn't make any sense because this film does not deserve a Razzie at all.
• 3:38
  I think, you know, yeah, in a way I can sort of understand because it is so over the top.
• 3:45
  But, I mean, we'll obviously get to it, but there is no way in the world this deserves a Razzie.
• 3:50
  I mean, for a start, I think it's an absolutely great script by Oliver Stone,
• 3:55
  but we'll get more to the sort of realization of the script and the sort of
• 4:00
  aesthetic and the look of it and the complete sheer excess over-the-topness of it?
• 4:05
  Well, the excess really comes for where this transition period was happening
• 4:09
  with gritty crime dramas, the seediness underbelly of New York and stuff like that, to glamour.
• 4:16
  And that's where the 80s was all about colors and neon.
• 4:19
  And so Miami is the perfect place to set this. Yes.
• 4:23
  The original script was written by the great, great, and directed by,
• 4:27
  I believe directed by, the great Howard Hawks.
• 4:29
  Yes. We've talked, you know, he's known for The Thing from Another World,
• 4:33
  Rio Bravo, John Carpenter's favorite director.
• 4:37
  And it's actually dedicated to him. But it's loosely based on the 1932 film called Scarface.
• 4:44
  Now, Scarface is the nickname that was actually originally given to known mafiaso
• 4:50
  Al Capone. That's right.
• 4:52
  Who is the big wig of Chicago at the time.
• 4:55
  He ended up getting caught for tax evasion, which we'll find out what happens in here.
• 5:00
  And he was, and then he died pretty much of syphilis.
• 5:03
  That's right. And so, and the character in the 1932 film was called Tony Camonte.
• 5:12
  And they kind of wanted to get away from the Italian aspect of it,
• 5:16
  which would be the Capone story.
• 5:17
  They just tweaked the name and made it in central Miami and made him obviously
• 5:23
  Cuban. yeah because at the time there were there was issues with Cuban refugees,
• 5:29
  coming into America that Castro was sending to America,
• 5:33
  Yeah, and we have a couple scenes with that, with the camp that they send him
• 5:38
  to Freedom Camp, I think it was called.
• 5:39
  Yes, Freedom Time. But, you know, it's really tough talking to Scarface without
• 5:45
  doing the accent, so we do apologize for anybody who's Cuban.
• 5:49
  For bad accents, yeah. Or Puerto Rican when we do Carlyra's Way.
• 5:53
  But I want to say Montaña, how do you say Tony Montaña? Tony Montaña.
• 5:58
  I'm a political refugee from Cuba.
• 6:01
  Oh, that's terrible. But his name spells like Montana. And the funny thing is,
• 6:07
  that's where Oliver Stone got the name.
• 6:08
  Because he's a big fan of the quarterback, Joe Montana.
• 6:11
  Yes. And that's how the name came about. So he kept Tony, which is a traditional
• 6:16
  name, and then Montaigne.
• 6:19
  Oh, that's terrible. Yeah.
• 6:21
  I would say that Oliver Stone, I mean, his work generally is quite political.
• 6:25
  But this is actually a very political script. But it's very balanced as well.
• 6:29
  Because he basically, he has a real pop at both communism and capitalism,
• 6:36
  you know, within this film.
• 6:37
  It's actually very clever and very balanced. It's almost satirical.
• 6:41
  It kind of is because some of the more grounded character and the most loyal
• 6:45
  character is the drug lord, Alejandro, and yeah, Sosa.
• 6:51
  So he's the more grounded one of all of them. And the biggest pig is the fucking
• 6:55
  Bernstein, the fucking narcotics cop. Yeah, exactly.
• 7:01
  I mean, there's a lot of pigs in this, including Tony and Montana himself.
• 7:05
  Manny Ray is actually quite a sympathetic character and the sister as well and
• 7:09
  obviously the mother, you know.
• 7:12
  There's a lot of real scumbag characters in this. Here's a thing.
• 7:15
  Oh, yeah. Here's a real thing.
• 7:17
  The funny thing is, the scumbag characters, are they really scumbag?
• 7:21
  Omar, when I first watched the film, the guy's a fucking dork, but Did he really do?
• 7:28
  Well, guys, we're going ahead of ourselves, but we'll jump into it.
• 7:31
  And let's go ahead. But what I was saying originally.
• 7:35
  This is the end of the credit crime drama. It would peak with,
• 7:40
  you had, at this time you had Vice Squad, Fort Apache, The Bronx.
• 7:44
  But at the same time, Chuck Norris was coming into play. Robbo.
• 7:48
  And then you had Commando and Rambo.
• 7:50
  And then, but then at the cusp end, you had the two vets, Michael Mann and a
• 7:57
  freaking end kind of credit crime drama with two films, which would be Manhunter
• 8:01
  and To Live and Die in L.A. Yeah.
• 8:04
  And then it went to Lethal Weapon, Die Hard, Raw Deal, all these films. All these over the top.
• 8:11
  And it's just an internet transition. And this is definitely that happy medium
• 8:16
  for me. Like I said in the beginning, it's not cheese at all.
• 8:20
  And I don't like using the word. I know De Palma doesn't like using the word.
• 8:23
  But there's camp here, whether he wants to know that or not.
• 8:26
  Yeah, oh, totally. Especially with the accents.
• 8:28
  Oh, totally. There is a lot of camp. There's one thing I would like to get out
• 8:32
  of the way about this film that has always bugged me and it's nothing really
• 8:36
  to do with the actual film itself.
• 8:38
  It's how fucking plastic gangsters out there from everywhere,
• 8:42
  from Belfast, from right across the board absolutely worship this film and they
• 8:47
  want to be Tony Montana and they're completely missing the point.
• 8:51
  This is actually anti-crime and anti-drugs film, if they really look at it.
• 8:57
  They're total morons, but that's... Yeah, I know.
• 9:00
  And I heard that the rap community wants a rap music version.
• 9:04
  Oh, that would be terrible.
• 9:05
  I know, but it's just like, what? But they were going to remake it.
• 9:10
  Apparently, the always eloquent and classy Snoop Dogg watches this film every
• 9:16
  month because, I don't know, plastic gangsterism or something. I don't know.
• 9:21
  No, but I think, I mean, it is. I mean, you watch this. I don't see it as even
• 9:26
  a gangster film. I'm not a gangster. I'm thinking Goodfellas.
• 9:29
  And I see this just as, just. Oh, yeah.
• 9:33
  Actually, it's almost, you know, in ways, it's almost sort of Shakespearean,
• 9:38
  and that plays out like a Greek tragedy, albeit... Well, of course it does.
• 9:42
  I like Teen Yiddies, over the top, very colorful one, you know? It does.
• 9:47
  Well, they did Romeo and Juliet was a very colorful one. They did the same concept
• 9:50
  with DiCaprio and Danes. Yes, Blurman.
• 9:53
  Yeah, so you're not far from that one, because all of his stuff are tragedies.
• 10:02
  So this is the rise and fall of a, quite frankly, very vile character.
• 10:07
  Yeah, totally. It's an old story.
• 10:10
  And it's interesting because when you watch films, you always try to find the good.
• 10:15
  And the good I'm finding is in the one character, the characters you think should
• 10:19
  be, they're all bad. Let's get this out of the way.
• 10:21
  There's not a good person in this. Besides the mother. Yeah.
• 10:24
  Besides the mother, a poor angel never had a chance.
• 10:28
  What about Chi-Chi and Ernie? I do like Chi-Chi. I feel sorry for him,
• 10:33
  And Ernie, big Ernie. Yeah, Ernie's just looking at you all.
• 10:36
  Oh, that was a great scene. Okay, let's just dive into it. Okay.
• 10:40
  By the way, it's before I start because I know I'll forget.
• 10:42
  If you like this film, there's a film by Taylor Hackford, a wonderful director
• 10:46
  who did Officer and Gentleman and so forth, so forth.
• 10:49
  He did a film called Blood In, Blood Out. And it's the rise and fall of these L.A.
• 10:55
  Brothers and cousins who were in the gang life in L.A. during the 80s.
• 11:00
  No, I'm sorry. It was late 60s, 70s. but the whole film reflects 30 years in
• 11:05
  their life one becomes a cop one becomes you know blah blah blah I won't give
• 11:09
  it away but it's this great story,
• 11:12
  of these Mexican this Mexican family yeah I haven't seen it it's really good
• 11:18
  called Blood In Blood Out guys should check it out if you like if you like Scarface now it sounds,
• 11:24
  it's more it's more dead straight grounded blood out,
• 11:28
  but it's quite good you guys should check it I just watched it It's like three
• 11:31
  and a half hours long, but if you have time, take an afternoon to watch it.
• 11:36
  It's really enjoyable. Yeah.
• 11:38
  All right, here we go. We got our boy, Al Pacino, as Tony, Michelle Pfeiffer,
• 11:42
  beautiful Michelle Pfeiffer, as Elvira. Not the one we all think of, guys.
• 11:47
  Stephen Bauer as Manny. Is that the mistress of the dark?
• 11:52
  Stephen Bauer as Manny. He actually is Cuban, so there you go.
• 11:56
  I think he's one of the very few actual Cubans in the cast.
• 12:00
  Yeah, I think you're right there. Mary Elizabeth of Macedonio.
• 12:04
  Kind of disappeared, but I like her. We admire him. She plays Gina.
• 12:08
  Well, I got her from the Abyss. Yeah. I liked her in that. Yeah.
• 12:11
  Robert Loggia, who I love, Robert Loggia. And he's my favorite character,
• 12:14
  Frank. Amerian Cologne is Mama. F. Murray Abraham is Omar.
• 12:19
  Paul Chenier is Alejandro.
• 12:22
  Yes. Harris Ulan is Bernstein. He's the pig.
• 12:25
  Chi-Chi, Ernie, Angel, Nick the pig, and Hector the toad.
• 12:29
  So, Hector the toad. Yeah. There you go.
• 12:33
  This whole opening scene. The one thing this movie is missing,
• 12:36
  and I'll say this right, it's missing De Palma.
• 12:39
  It is. now this is
• 12:41
  a big budget scale for him he did well
• 12:45
  i take that back he's worked obviously i mentioned all the films carrying
• 12:48
  all our budget is but i think he had i don't want to say he didn't have the
• 12:53
  creative control he wanted maybe but it doesn't have that diploma moments diploma
• 12:59
  diploma always has a staple in all of his films he has three acts usually one
• 13:03
  in the beginning one in the middle and one at the very end we'll get to that
• 13:06
  when we talk early to his way.
• 13:09
  And they're all intense scenes. It's an intense scene.
• 13:12
  It's a buildup to keep the audience anticipated of what's going to happen next.
• 13:17
  So he'll put something in the beginning, the middle, and the end.
• 13:19
  And this sequence is usually about 10 to 15 minutes long.
• 13:24
  And it's just a pop boiler. And then it goes more grounded. And then he'll pop
• 13:29
  another scene in like that.
• 13:30
  It's what he's always done, but he doesn't do it for this film. I would agree with that.
• 13:34
  And in fact, if you were to watch this film, with, for whatever reasons,
• 13:39
  Brian De Palma's name taking off the credits, it doesn't look and feel that
• 13:45
  much like a De Palma film. Exactly.
• 13:48
  Exactly. And that doesn't take away from the film, guys, but this is,
• 13:52
  anyone could have directed this to me.
• 13:54
  Yes, yeah, totally. I'm going to be honest with you. And in fact, I think it was Stone.
• 13:58
  Was supposed to, but he was too young. I don't think he was ready. Yeah.
• 14:03
  But there you go. Yeah, Freedom Town. This is where he starts becoming...
• 14:08
  This is where he starts... This is where he becomes...
• 14:13
  He starts building his way up when he does the assassination of Emilio Rebecca.
• 14:18
  Yeah, he's a guy, basically, he was like a Cuban guy who was basically a torturer for Castro.
• 14:25
  He tortured people to death. And then Castro liked
• 14:29
  Stalin before him I mean I don't know how much of this
• 14:31
  is playing loose and fast With actual historical fact
• 14:35
  But within the context of the film This guy
• 14:38
  was basically a torturer for Castro But then Castro got paranoid And basically
• 14:44
  excommunicated him But this guy has a lot of enemies So Tony and Manny Ray and
• 14:52
  Chichi And their other mate who gets carved up with a chainsaw later on Angel.
• 14:57
  Yeah, Angel, sorry, yeah.
• 14:58
  They're basically hard to assassinate him in Freedom Town.
• 15:02
  It'll get them out of Freedom Town and it'll get them a job.
• 15:06
  And that's where they meet Omar, and Omar offers $500 to do this hit or whatever.
• 15:11
  What about Omar dancing to the Cuban music?
• 15:16
  I think it's Cuban music in the car when they first meet him. What the fuck?
• 15:22
  It doesn't seem right. I like that, Marie. Abraham, he's the guy who killed
• 15:27
  Mozart and Amadeus. That's right.
• 15:29
  Spoiler alert. But yeah, he just.
• 15:33
  I like, oh, this one, this, this, this role seems to be miscasted for me.
• 15:38
  It does a bit. It doesn't hurt, doesn't it? No, I mean, the professional actor
• 15:43
  is playing roles and stuff.
• 15:44
  And, you know, if Murray Abraham, I think it's not his fault.
• 15:49
  You know, the character's just a bit silly.
• 15:50
  You know what I mean? He's just an actor, you know, doing his job and playing
• 15:53
  the character and reading lines off a script, essentially.
• 15:56
  So I don't think he actually does anything wrong, but the character's just a
• 15:59
  bit, I don't know, just a bit silly or something.
• 16:03
  Yeah. And I think that's deliberate to show that he's kind of incompetent.
• 16:07
  Yes. And a bit of a deck. Well, let's piggyback on that then.
• 16:10
  Let's piggyback on that.
• 16:11
  So Tony confronts him. They offer $500.
• 16:15
  He said, that's chicken shit. Because he's a badass. Yeah, give me something bigger.
• 16:21
  And so he challenges Omar at his first meeting.
• 16:25
  And Omar, this is where the famous chainsaw per angel. Yes. Gets it.
• 16:32
  Now, did Omar It's brought up There's a lot of dirty dealing going on Did Omar
• 16:39
  set that up He was not supposed to survive this I think that's definitely Suggested,
• 16:44
  but then it's also Suggested that Omar Well,
• 16:48
  more than suggested that Omar Is basically working for the cops,
• 16:51
  because you know Sousa gets him assassinated Essentially,
• 16:54
  you know, whenever he gets thrown out of the helicopter And his shoe falls off,
• 16:57
  but his head Remains attacked.
• 17:01
  But no, no, it's suggested, but it's not explicitly stated that Omar basically set those guys up.
• 17:09
  But I think with the whole thing with Hector the Toad and his gang,
• 17:13
  I think the big problem there is Tony's behaving like an aggressive dick right from the start.
• 17:20
  Oh, yeah. His ego is his downfall. Oh, totally. It's hubris. Yeah.
• 17:26
  He's fucked. Yeah. But there's a couple good moments when Pearl Angel's getting
• 17:31
  fucking gutted and Montana's always this big tough guy, right?
• 17:35
  He's being badass. Yeah. But he can't watch this.
• 17:38
  That's right. He's being forced to look at it, but he's trying to look.
• 17:41
  It's the one time, and there were a couple other moments coming up where he's vulnerable.
• 17:45
  But Tino is great here, I have to say. Yeah, he is.
• 17:49
  You know? But then you got where De Palma shines is where this moment of intensity,
• 17:59
  okay? This would be kind of the moment I was talking about where he likes to
• 18:01
  put in Pepper in a couple moments.
• 18:03
  This should be kind of one of them, but it's not De Palma-esque.
• 18:07
  You guys will understand what I'm saying if you're watching De Palma.
• 18:09
  But anyways, when Manny's sitting there hitting on the women,
• 18:14
  he realizes something's not right. Yeah. And he goes up there.
• 18:17
  This whole sequence, the way this is played out, I felt like I was in that room
• 18:22
  being shot at. It's deeply intense.
• 18:24
  It is. And then when that guy's got the chainsaw, and people are going to laugh
• 18:28
  at this, compared to Scarface to this, but when he's got that chainsaw,
• 18:32
  the guy, the madman, and he's just flaring it, trying to get out of there,
• 18:36
  and he, what a stuntman who did this. I know.
• 18:39
  Takes the chainsaw with him, and he flies out the window, and he rolls on his back.
• 18:43
  Great stunt. I also would love. Go ahead. Well, the intensity of it...
• 18:48
  There was an uglyness and a graininess to it, which kind of put me in the shoes
• 18:52
  of watching Leatherface chasing the girl in Texas Chainsaw.
• 18:57
  According to IMDB, this scene is an actual reference to Texas Chainsaw Massacre,
• 19:04
  and it does remind you of whenever Leatherface is chasing the girl down the street,
• 19:10
  down that sort of dusty road, at the end of Texas Chainsaw Massacre.
• 19:14
  Because it's just flaring the chainsaw around, like he's manic.
• 19:16
  Exactly, exactly like Leatherface. in Texas Chainsaw Massacre.
• 19:20
  I love, I mean, this is a very tense scene. I love how the Palma,
• 19:25
  basically they move the camera from what's going on in the house with the chainsaw
• 19:29
  and the Angel, you know, getting caught up.
• 19:31
  You don't actually see it, but you don't have to see it. It's the blood splatting
• 19:34
  on Tony's face and stuff.
• 19:35
  And even the blood splatting on Angel's face. Sorry. That was the tough shot.
• 19:41
  Yes, exactly. Before Tony.
• 19:43
  Yeah. But then the Palma has the camera then move through the blinds of the
• 19:48
  window down to where Manny Ray is chatting up the girls and basically being
• 19:53
  his usual sort of pervy self.
• 19:55
  And then, you know, it's just very, very well played in terms of the intensity
• 20:00
  and the tense, the tenseness of the scene. It's a great scene.
• 20:04
  Yeah, it's probably the best scene in the film next to the coffin,
• 20:09
  the batshit crazy ending.
• 20:10
  In terms of, you know, intensity, this is the best scene, I think.
• 20:15
  Well, there's one more scene that might beat it, And it's pretty much just a word of words.
• 20:19
  And we'll get to it. It's assassination Frank. Yes. Yeah. Oh, that's funny.
• 20:25
  So now he's got the cocaine money. And he's going to be, Omar,
• 20:28
  I want to meet your boy Frank.
• 20:30
  And then Frank, which is ballsy move, gives Frank both the money and the cocaine.
• 20:37
  Yes. And goes, it's a gift from me. And that gets him in. Yeah.
• 20:41
  Uh-huh. And then. Now. Yes, go ahead. Oh, go ahead. Go ahead.
• 20:44
  The Avairo character. I love Michelle Pfeiffer.
• 20:48
  Absolutely. She's, as an actress and as Catwoman.
• 20:52
  But I love Michelle Pfeiffer. Always have. She's one of my favorite actresses.
• 20:56
  Grease too. But, but. Grease too.
• 21:01
  But I thought this character could have been written out. I really don't think.
• 21:05
  I know you need. We're going to talk about this with Clayton's Way.
• 21:09
  It's a shoehorned in. Yeah. A romantic interest.
• 21:13
  And the character is I
• 21:16
  mean she's not a very likable character at all I mean she'll just basically
• 21:19
  go wherever the money is no problem and in fact they actually literally do ride
• 21:26
  her out before the finale yeah it just she's definitely shoehorned in because
• 21:30
  here's the one thing that,
• 21:34
  Tony eases himself and calms down on, doesn't over-the-top anything,
• 21:41
  like he does with Omar and so forth, is with her.
• 21:44
  But once he gets her, he becomes a dick to her. Yeah.
• 21:49
  And that's where I thought some of the writing was sloppy. It feels like a studio
• 21:53
  note, her being shoehorned in.
• 21:56
  And also, regarding their relationship, I mean, it's all just,
• 22:01
  you know, all totally out of greed, and it's a marriage of convenience.
• 22:04
  I mean, we never see them kiss. There's no, absolutely no real chemistry between
• 22:09
  them. And let's get this out of the way.
• 22:11
  Tony is basically gay with the hots for Manny Ray, his best friend, you know?
• 22:17
  Yeah, I mean, people don't want to, De Palma says he even wrote in the scene
• 22:20
  when they're on the Cuban boat.
• 22:22
  Yes. He makes a pass at Manny. It's in the, you can watch the,
• 22:26
  the footage is available.
• 22:28
  Yes. You can watch it on your Blu-ray or 4K. They'll have like,
• 22:31
  what do you call it? The outtakes. Yes. Yeah, deleted scenes.
• 22:34
  It's in there. And he says, what we were going for, because at the time you
• 22:40
  were having these other from Cruising would be a perfect example coming out. With Pacino again.
• 22:44
  With Pacino, yeah. And it's one of the reasons they wrote it out,
• 22:48
  because he didn't want to do back and back.
• 22:51
  But it makes more sense why he kills Manny when he sees him with Gina.
• 22:58
  Yes. Because his love for Manny is... He's jealous?
• 23:04
  Yeah, he's jealous. You know, totally. It's too bad they didn't have the balls
• 23:08
  keeping them there. I know that.
• 23:09
  And it'd be funny if they did keep it in there, would it be the film that everyone
• 23:14
  wants it that they think it is now? Well, all the plastic gangsters might have issues with it.
• 23:19
  That's my point. You know, with these gangsters, all these rap artists and stuff,
• 23:23
  would they be wanting to be, you know, they've got cultures of Montana all over
• 23:28
  their fucking mansions and shit, they do.
• 23:30
  I know that now, total morons. Cribs and all that stuff.
• 23:33
  It's not even the rap community. I have known people, usually almost always young men, in Belfast.
• 23:42
  It's like my dad would say about some of these gangster types locally in Belfast and stuff.
• 23:48
  My dad would always say, yeah, I think they'll watch too many gangster films.
• 23:52
  They'll watch Scarface or Goodfellas next thing to think they're,
• 23:56
  I don't know, Robert De Niro or Tony Mantala or something. Nope.
• 24:00
  It's just, it's frustratingly stupid, let's just say.
• 24:05
  Yeah, it's, but it would have been interesting. I think they should have kept it in.
• 24:09
  It just makes more sense, the way Pacino handles himself, the way he walks,
• 24:14
  his mannerisms, he's in Miami. The way he dresses? The way he dresses.
• 24:18
  The way he, when he, the only reason he wanted Avira is because it was Frank's.
• 24:25
  Exactly. It was Frank's. And it was also a status symbol.
• 24:28
  Yes, and once he got her, he didn't care. No, there is not one scene,
• 24:32
  again, as I was saying, there is no scene of them even kissing.
• 24:36
  Even in the Push It to the Limit montage scene, even the kiss is very forced,
• 24:42
  and it's just like a peck whenever they're getting married, you know?
• 24:45
  And there's no chemistry intentionally.
• 24:48
  They're talking about having kids. That never happened. Exactly, yeah.
• 24:52
  It's a marriage of convenience for them both, and there's certainly no sexual
• 24:56
  chemistry between them, But that's intentional because Tony's gay.
• 24:59
  Yeah, I think the whole thing is frustration, is that he wants to come out and who he wants to be.
• 25:05
  Yeah, and the anger. And he can't because he's in this world of,
• 25:08
  so he's doing all these, he has this montage of him doing drinks and drugs.
• 25:13
  And so you think when he finally kills Manny, it's drugs and anger and blah,
• 25:18
  blah, you don't touch my sister.
• 25:19
  Yeah. But no, it's the fact, I don't think the film is using drugs as the reason
• 25:25
  for it, but it's not. I think it's just, it's frustration that he can't be who
• 25:30
  he wants to be and he can't be who he wants to be with.
• 25:32
  Yeah. I think that's why is the real. This film could be read,
• 25:36
  the character could be read as basically, you know, all of the sort of,
• 25:41
  you know, the sort of anger and all that there could be read as repressed homosexuality.
• 25:46
  Yeah, that's what it is. Yeah. Period.
• 25:51
  But we didn't get that, but I can see it. and I just think it's just the film
• 25:57
  just justice by removing that little scene where he makes a pass at Manny.
• 26:02
  It doesn't have to be just keep it in there.
• 26:05
  It's added so much more depth to the character and to the character.
• 26:09
  And in a way you almost feel sorry for the character. Yeah, it's almost a tragedy there.
• 26:15
  Again, it plays into the whole sort of Greek tragedy thing at all different
• 26:18
  context like, but yeah, yeah.
• 26:21
  Yeah, Elmore's dead. well this is when they
• 26:24
  go to bolivia yeah i i love i mean
• 26:27
  i i i'm i he passed too
• 26:29
  early but paul shanar who plays alejandro
• 26:33
  yes i like this character yes he's
• 26:35
  a pig he deserves to die don't get me wrong but he's so
• 26:38
  professional and he's so he's almost
• 26:41
  like almost like an english public school boy
• 26:44
  almost you know uh you know educated type
• 26:47
  thing because he's very sort of I love when he cracks up a Tony later on he
• 26:51
  goes I fucking dare you little fucking monkey you know whenever Tony finally
• 26:57
  betrays him you know by the way it's funny sorry go ahead oh go ahead you have
• 27:02
  all these characters like Frank and Alejandro,
• 27:05
  Omar all these people you meet Bernstein yes.
• 27:10
  In some way or another, Montaigne just pisses them off because they're more reserved and quiet.
• 27:16
  But when he gets involved in their lives, they become time bombs.
• 27:19
  It's because Tony's basically a loose cannon and a thug.
• 27:23
  So he is where these guys are trying to be professional.
• 27:26
  You know, Frank and Sousa, they're trying to be like professional businessmen.
• 27:30
  Obviously, they're completely and utterly corrupt, but they can't handle Tony
• 27:35
  because he's just so much of a sort of, He's a thug, basically,
• 27:39
  and he's so obsessed with getting to the top, you know, that sort of thing.
• 27:44
  And I would also say that the two things that Frank warns him about whenever
• 27:47
  the first meet, you know, in the nightclub, are actually Tony's downfall.
• 27:51
  He says, don't get high on your own stash and basically don't basically turn
• 27:56
  on your friends type thing.
• 27:58
  Yeah, he also tells him when Omar gets it, Frank goes, really, Omar's a snitch?
• 28:05
  Do you really believe him? He goes, you can't trust people like Alejandro, which he isn't wrong.
• 28:09
  And you need to start, you need to realize in this business,
• 28:12
  you have to fly straight, not reckless. Yeah. I keep a little profile.
• 28:17
  And he's the complete opposite. So now, again, I'm not Frank's great guy,
• 28:22
  but the two main guys, Frank and Alejandro, they're right.
• 28:28
  They're giving them, they're giving them real advice. They're giving them fair
• 28:31
  advice. any advice you'd give a store owner to?
• 28:35
  Obviously, their business is a little more darker, but I think you get my point.
• 28:39
  Oh, yeah, totally no. Frank and Souza, any advice I give, totally.
• 28:42
  They're right, and whenever he goes against it, it proves to be his downfall.
• 28:47
  Also, I would like to give mention to the Terminator, who is at Souza's house,
• 28:51
  and obviously he pops up in the finale with sunglasses. I think the character's
• 28:56
  known as the skull, but he's the Terminator, I mean.
• 29:00
  Yeah, the bodyguard. Yeah, because any time he shows up, somebody got Omar, he brings Omar.
• 29:04
  You know, there's funny, they take Omar away. He goes, no, no,
• 29:08
  Omar, you take the helicopter and you go back. It's funny, obviously.
• 29:13
  Yeah, right? And then within a minute, the helicopter was taken off.
• 29:17
  They got him wrapped in a rope.
• 29:19
  Someone beat the shit out of
• 29:20
  him. Like they've been beating the shit out of him in five days. I know.
• 29:23
  What happened in that 30 seconds? How fast do you guys work?
• 29:26
  Yeah, exactly. Yeah, it is, but convenient.
• 29:30
  Plus the helicopter had to get up in the air The pilot had to pilot it All that
• 29:34
  sort of thing His clothes were torn and ravaged He was bruised and swollen I'm
• 29:40
  like, what the fuck? It seems like he's been tortured for days Not like five seconds.
• 29:46
  I got some confusion here So the Bernstein character comes in And he pretty
• 29:54
  much tells them You're going to pay me monthly Me and my narcotics agents Yes.
• 29:59
  You're going to be paying me monthly.
• 30:01
  And this is the assassination attempt because Frank realizes he's loose cannon.
• 30:05
  That's right. And actually, if I was Frank, I would have done the same thing. But he-
• 30:11
  Tony realises that Frank is going to try to assassinate him because he says
• 30:17
  to Manny, he sent Bernstein to blackmail me.
• 30:21
  Why would Bernstein be blackmailing him? He'd be blackmailing Frank,
• 30:26
  because technically he still works for Frank.
• 30:29
  He's in with Frank, and I think it could be that basically Bernstein knows that
• 30:36
  Tony's on his way up and he wants a piece of the action. I think a lot of it
• 30:40
  is about control, but also, obviously, the money.
• 30:44
  Bernstein, he's completely crooked, you know, so any sort of big player.
• 30:49
  But Bernstein is in the hit with Frank.
• 30:52
  Yes, there is a little bit of confusion there. Yeah, so why would Tony – get my point?
• 30:58
  Why would Tony go, Frank sent Bernstein to bribe me?
• 31:03
  Yes. But why? Because Frank – it's Frank's money.
• 31:06
  I know that there is some I think it was more.
• 31:11
  I don't think Frank originally planned to assassinate Tony but it's whenever
• 31:17
  they have that fallout and that argument in the bar around the time Bernstein
• 31:21
  comes in so it don't, you know the way, it's over Elvira actually,
• 31:26
  you know where Frank's saying get your own fucking woman type thing and then,
• 31:30
  but Bernstein I think it's already arranged for him to propose to Frank, you know basically,
• 31:35
  or sending it to Frank to Tony, but then I think Frank basically loses his temper
• 31:40
  after he has that argument with Tony, and then basically sends the guys in with
• 31:45
  Octavio the Clown and stuff.
• 31:48
  And who gets wiped out.
• 31:51
  Poor clown. So I think it was basically more Frank eventually,
• 31:55
  even though he had already arranged for Bernstein to approach Tony,
• 31:58
  I think this was a case of around the same time that basically Bernstein is
• 32:03
  getting in to approach Tony,
• 32:04
  that basically he flips out and he's had enough of Tony and says you know what kill the little fucker,
• 32:11
  See, the assassination attempt was quite good.
• 32:15
  And what I liked about it, what I liked about the, we talked about the grittiness
• 32:19
  of it, like the gritty crime dramas they are.
• 32:21
  These guys aren't, you know, Martin Riggs. They're not Martin Riggs.
• 32:26
  You know what I mean? That's my point. They're not Martin Riggs.
• 32:29
  They're not trained professionals.
• 32:30
  They're not military men. They're not, so they're going to miss.
• 32:33
  They're going to go bash it crazy all over the place, even if they've got mini Uzis.
• 32:37
  So, and I do like the fact you've got Montagna down behind the table after they
• 32:41
  shoot him in the arm, he's not the best shot either because you've got to realize
• 32:46
  these guys aren't military trained.
• 32:48
  Yeah. So when they're put in this situation, which is rare, they're not going
• 32:51
  to be the best shots. I like that.
• 32:53
  And I do like the fact he improvises by shooting them in the knees.
• 32:56
  Yeah. No, no, it's a smart move by Tony.
• 32:58
  So it is. Yeah. And he basically takes them down. Yeah.
• 33:02
  So this leads to, I think, the most intense scene.
• 33:07
  The ending scene wouldn't be the most intense because at that point, it's a comic book.
• 33:10
  Yes. No, no, that's just proper drama here. This is, yeah, intensity with words. Yeah.
• 33:16
  Because it's how well-written the film is and well-directed.
• 33:21
  It's, you kind of, I understood where Frank was going.
• 33:26
  And we're all talking about, you mentioned, you mentioned the ball.
• 33:30
  Everyone wants to beat Tony Montagna, have his post on the wall.
• 33:32
  Well, the guy's a fucking loser.
• 33:34
  The guy's an idiot. He doesn't know what he's doing. Yeah.
• 33:37
  He's a scumbag? Frank. Frank was the sensible one. Yep. So if anybody should
• 33:42
  have pre-posters of mobsters, it should be Frank.
• 33:45
  I'm serious. Robert Lovia up on their wall with his cheesy 80s mustache. That's right.
• 33:52
  And his rupee sort of South American accent. Yeah. Exactly.
• 33:56
  But this whole sequence and then even Harris Heelan's performance.
• 34:01
  All the actors were wonderful. It's brilliant. It's brilliant.
• 34:03
  Harris Heelan's sitting there with his hands crossed over his chest and he's
• 34:07
  watching Frank get executed, and he's so calm.
• 34:10
  Yeah. Like, you're not going to touch me. I'm a cop. Yeah.
• 34:14
  Yeah, he's just a prick. And when he does shoot him, it's like,
• 34:19
  how did you not think he wasn't going to shoot you?
• 34:21
  Because this guy's a fucking time bomb. Exactly. But it shows you.
• 34:26
  Tony's done. The minute he kills that cop, he's done. He's going to kill anything
• 34:32
  that moves. He's went too far.
• 34:33
  And the next person he fucks over is Alejandro. He's crossed the line.
• 34:38
  Like in the next one, we're going to talk about Carlito's way and similar sort
• 34:43
  of way that Sean Penn crosses the line. This is where Tony has crossed the line totally.
• 34:48
  He goes from being a small time thug and sort of political assassin to being
• 34:55
  a big-time gangster, which will be his downfall.
• 34:59
  With Gina, we haven't talked about her really. Yes, sister. I thought her whole thing was weak as well.
• 35:05
  Now, I think the problem is there's timeline issues here.
• 35:08
  I think, okay, so we meet Gina and the mom. Mom wants him out.
• 35:13
  He gives Gina $1,000.
• 35:16
  And here's Gina. Gina gives this great story. She goes, oh, I'm so happy.
• 35:19
  I'm going back to college. I'm at beauty school. I'm learning how to do hair
• 35:23
  she's getting a little career for herself well that's going to be taken away
• 35:26
  once he says no you're not doing that,
• 35:28
  I'm going to take care of you from now on the only people that survive this
• 35:32
  film are the ones who walk away from Tony the mother and Elvira you know the
• 35:38
  sister's fucking doomed from the start you know well that's what I don't get,
• 35:42
  there's a timeline issue because we're first introduced to her when I said she
• 35:45
  wants to do this she wants to go to beauty school whatever blah blah blah,
• 35:48
  next scene sees fucking guys in bathrooms doing glow and blah blah I was like, whoa, what happened?
• 35:54
  Is this months later? Well, here is a thing that... Oh, you know,
• 35:58
  this film does jump a lot.
• 36:00
  Like, there's maybe... It's maybe... Like, you'll go from a scene to another
• 36:04
  scene, and it'll be, like, several months later.
• 36:06
  So, yes, that... Yeah, that's where they needed something, because... Yes.
• 36:10
  Is this your first night out? Yeah, exactly. But here's a thing that I missed,
• 36:15
  and I don't know whether you caught it or not.
• 36:17
  See in the scene early on in the film where Manny Ray is doing the tongue thing
• 36:22
  and he's telling Tony, this is how you get American women, you know,
• 36:26
  all this here. I love that scene. It's so funny. Yeah.
• 36:29
  But, and Tony goes, what the fuck was that? Like a fucking lizard.
• 36:33
  But actually one of the women that Manny Ray is sort of ogling is Gina.
• 36:40
  But Tony doesn't recognize her. I didn't catch it, but one of the women in this scene is Gina.
• 36:47
  I'll actually have to go back And sort of you know look closely But according
• 36:51
  to what I've read up on But Tony doesn't recognise her because he hasn't met
• 36:54
  her yet Through the mother.
• 36:56
  Oh, no, I've never... I wouldn't have caught that.
• 36:59
  And apparently this scene, apparently her being there,
• 37:02
  you know, sort of as like a sort of beach babe type thing, was to Palma basically
• 37:07
  subtly, very subtly, saying, highlighting her basically being a bit of a girl,
• 37:12
  let's just say, which... Party girl. Yeah.
• 37:16
  So, yes, and sort of... Well, that would at least make sense of what I just said.
• 37:20
  Yes, yeah. At least it planted some kind of a seed. Well, it does,
• 37:24
  but it just does it very... too subtly, I would say, you know?
• 37:27
  Yeah. Where you don't notice it. Definitely.
• 37:30
  And you know what's funny? You talk about that scene with the tongue.
• 37:32
  Yeah. That's the one scene where him and Manny, you can see that they're like
• 37:36
  school kids, where they kind of left their guard down.
• 37:39
  They have fun. Well, they're friends. They're trying to hit on the women.
• 37:42
  Yeah. And as he's trying to hit on a woman, Tony goes up to a couple little
• 37:46
  kids, watch my friend try to
• 37:48
  hit on this girl. And he's playing with them knowing he's going to fail.
• 37:51
  But it was a funny, nice little scene, which we don't, we get very little of in this film,
• 37:57
  yeah exactly but it does build them as sort of like actual proper,
• 38:01
  you know, friends and being close to each other sort of thing,
• 38:05
  well apart from whenever they're like killing for each other and shit like that.
• 38:10
  Whenever Manny Ray kills Frank you know, Tony goes, it's actually a really good line,
• 38:15
  where Tony goes I'm not going to kill you Frank and Frank's like,
• 38:19
  you know, sort of thank you Tony, you know, down his hands in these thank you
• 38:21
  20 goes mandy kill this piece of shit you know did you notice did you notice
• 38:28
  that whole sequence that big uh,
• 38:30
  wallpaper he has of the sunset or sunrise in
• 38:34
  the Bahamas whatever it is yeah it's you'll see
• 38:37
  that again in the postcard or in
• 38:40
  the ending of Carlito's way that's right where you
• 38:43
  see her dancing that's right with her son yep that's I think it's very it's
• 38:48
  supposed to be a nod to this there's a couple of nods in Carlito's way to this
• 38:52
  oh yeah well Chi Chi Chi's in that one too and also there is a couple of references
• 39:00
  to cockroaches, you know,
• 39:02
  and Carlito's way, but that's. Oh yeah. Yeah. Yeah. Yeah.
• 39:07
  So just like Capone, he gets busted for tax evasion.
• 39:10
  Yeah. Pretty much. And no matter what, he's going to, he's going to do some
• 39:13
  time. Yeah. So he goes to Alejandro and he goes, listen, I can help you.
• 39:18
  You won't do any time. He's like, oh, thank you.
• 39:21
  But I need you to take this fucking nut job.
• 39:24
  This guy out. Yeah.
• 39:27
  Alberto. And you're going to go, they're going to plant a car bomb and you're
• 39:30
  going to kill this politician and who's against the drug war and you can't give this big speech.
• 39:38
  So, and again, I get why they put it in, but you're trying to humanize Tony
• 39:46
  at this point and it's not going to work.
• 39:49
  I would say that actually, this is the only real glimpse we get of sort of an
• 39:56
  effort at humanizing Tony, but it's too late at this point. It's too late. Yeah.
• 40:01
  Well, he just talked about it when Manny was sitting on the girls and he was
• 40:05
  poking fun with the kids and watching men.
• 40:08
  You know, childlike mentality, just being friends, you know.
• 40:12
  But this doesn't fit. Yeah. I get it.
• 40:15
  But it doesn't make any sense. So he kills Alberto because he doesn't want him
• 40:19
  to kill the kids in the car, which is great. I understand that.
• 40:23
  And now he's dead for doing that. Yeah. But it doesn't.
• 40:27
  You need to do something different here because... The only way it works is
• 40:31
  in terms of a plot device to basically set up the big finale and the war with,
• 40:36
  you know, Sousa and the gang, the Bolivians. You can't do that.
• 40:40
  Yeah. A plot device you pepper in would at least somewhat make sense of the character's journey.
• 40:45
  This made no sense. This guy's a raving maniac.
• 40:49
  Up until this point, you would think, as a viewer, that Tony would have no problem
• 40:54
  killing women and kids, but all of a sudden there is some sort of it is a bit
• 40:58
  of a shift in the character.
• 41:01
  If it benefited Tony up until this point he would kill fucking anyone, men, women or children,
• 41:08
  essentially but all of a sudden we'll have this sort of human aspect thrown
• 41:12
  in where he goes no women and kids, no women and kids,
• 41:14
  and by the way I love the guy, the character
• 41:17
  actor he just passed a couple of years ago who plays Souza's
• 41:21
  assassin guy he pops up in everything over the
• 41:24
  years like you know the equalizer even and and
• 41:26
  stuff like yeah yeah yeah it's got
• 41:30
  a weird name mongolia or something like
• 41:33
  that mark mongolus yes mark mongolus i think it is but yeah he always played
• 41:37
  he always played bad italian guy yeah yeah or sort of assassins or something
• 41:42
  or sort of yeah that's like sort of supporting roles yeah but but yes and this
• 41:48
  doesn't really fit with the character of Tony, who all of a sudden has a conscience.
• 41:53
  And bear in mind, he's completely coked off his balls at this point,
• 41:58
  you know. So, just feels a bit.
• 42:02
  They're just basically using it so that it sets up Tony killing the assassin
• 42:07
  guy with the bomb and then setting up the big finale with the Bolivians.
• 42:11
  It would have made more sense if they were going after him and were going to blow it up.
• 42:17
  He was fine with doing all that and Alberto calls him out like,
• 42:21
  you're a fucking coward.
• 42:22
  You know, something to push him over the edge. There was no foreshadowing of
• 42:25
  Tony's sort of humanity here.
• 42:28
  Yeah, so that's why you should have attacked his
• 42:31
  ego if Alberto who was challenging him attacked his
• 42:34
  ego on the car and he just lost it because he coked out and
• 42:37
  shot him that would have been better than oh I could
• 42:40
  kill women and kids even something like in
• 42:43
  Jackie Brown where Lewis the Robert De Niro character just randomly flips on
• 42:48
  Melanie and shoots her something like that you know because she's teasing him
• 42:51
  and winding him up and just having things at his ego yeah but that was that
• 42:55
  was the whole film she was always doing that to him yeah but we could have had
• 42:58
  that set up in earlier scenes.
• 43:00
  Oh, yes, yes. Yeah, Alberto could have made a jab at him earlier.
• 43:04
  Yeah. Whenever. Something like that.
• 43:07
  No seed was planted for that. Yeah. Instead we had Tony with a heart.
• 43:12
  Yeah, didn't work. You got, uh, so this is where he kills Manny. Yes.
• 43:18
  Manny has pissed off. I'm up with Gina and I've decided to get married.
• 43:22
  It's actually a really effective scene and it is overly melodramatic and stuff,
• 43:28
  almost soup opera-esque, but with like real violence.
• 43:31
  Oh God. But when she, I mean, it is brutal when she, when this is when all the,
• 43:37
  you know, El Harder's men are coming now on the Terminator. Yes.
• 43:41
  They're coming in and they're, they're shooting everyone and she shows up pretty
• 43:44
  much naked in a robe. Yeah.
• 43:46
  And goes, do you want to fuck me? It's really awkward. You want to fuck me,
• 43:49
  Tony? Is this your problem? And then she just gets fucking.
• 43:52
  Riddled with bullets. Yeah. Riddled with bullets.
• 43:56
  And poor Chi-Chi gets shot in the back. And Ernie gets it as well.
• 44:00
  I'm sad for, basically the three characters I was sad got it are Angel, Chi-Chi, and Ernie.
• 44:08
  Poor Ernie, just looking at a fucking job, trying to put fruit in the table.
• 44:13
  The three characters with the most less intimidating names you could have as a drug czar.
• 44:21
  Ernie, Chi-Chi, and Angel. I know.
• 44:25
  Poor guys. for bastards for this whole sequence is now this is where we talk
• 44:32
  about people are talking now can see it and they think is that cheese i don't
• 44:35
  think it's cheese i think it's there's a little,
• 44:38
  i think they there's a difference between cheese and
• 44:41
  camp and the reason i say this is because the
• 44:44
  only reason it's coming off like cheesy maybe
• 44:48
  it's because he just went batshit crazy
• 44:51
  with the bullets and the squibs and the violence because
• 44:54
  it's so over the top he was just trying to say guys
• 44:57
  it's only a movie well I think there's I
• 45:00
  think more it's more sort of
• 45:03
  cartoon violence this is
• 45:06
  basically a film about cocaine and so
• 45:09
  the real sort of over the topness
• 45:12
  and stuff and all that there it feels
• 45:15
  like you would fail on cocaine you know that sort
• 45:18
  of thing so I think it's all intentional the pure excess
• 45:21
  yes and it's the 80s as well it definitely
• 45:24
  feels intentional but in in terms
• 45:27
  of the fact it's like almost like some sort of cocaine fueled
• 45:30
  fever dream or something like that you know because tony is completely like
• 45:35
  he's completely he's pushed it to the limit you know in terms of you know the
• 45:40
  cocaine he's got the big mountain and stuff in front of him on his desk and
• 45:43
  he's snorting it and stuff so to me it just this feels like.
• 45:48
  An action scene, almost Rambo action scene, but directed and made by somebody,
• 45:55
  everyone basically being completely high on cocaine. It reflects the cocaine
• 45:59
  experience, let's just say.
• 46:01
  Yeah, well, they're saying there's truth behind it because your body's so hopped
• 46:05
  up on coke that you wouldn't feel half the shit that's happening to him.
• 46:09
  Yeah. So until he gets the final bullet in the back from our Terminator.
• 46:14
  I do like the thought he falls in that fountain, and the fountain's got the
• 46:18
  glow of the world is yours. Yeah.
• 46:20
  And the spooky music comes on. Great soundtrack and score by Giorgio Moroder.
• 46:25
  In fact, it would go as far as saying iconic.
• 46:27
  It's good. It's good. I think this is great.
• 46:31
  It's just, I mean, it's completely balls out over the top, but intentionally so.
• 46:36
  And it's an epic Shakespearean Greek tragedy almost and yes it's an old story
• 46:43
  but I think it's just told in a pure it's an old story for the 80s and it does not hold back.
• 46:51
  It's fucking really entertaining.
• 46:54
  Yeah it is good. For all its flaws.
• 46:58
  Was that? For all its flaws as well. Yeah I mean it is flawed when I saw it
• 47:02
  younger I was like oh this is badass this is the greatest film ever.
• 47:05
  I watch it Now I'm like, no.
• 47:07
  Yeah, you wanted to be a classic guy. I mean, I can name five better films than
• 47:12
  this. Oh, yeah. In this genre.
• 47:14
  Because it's got flaws. It has absolutely zero subtlety.
• 47:19
  It's got the mishandling of the women in this. It's got some sequences where
• 47:25
  we just talked about Tony's demise and how it led to that.
• 47:29
  It was out of character for him. It didn't make any sense.
• 47:31
  Yeah. So there's definitely some rewrite issues going on here. and
• 47:35
  but fuck it's good I mean it is it's entertaining it's almost three hours long
• 47:40
  and it fucking flies by yeah there's always something happening it is never
• 47:44
  boring wonderful script by a lover's stone and just pure over the topness and
• 47:51
  just really entertaining and,
• 47:54
  There you go guys, Scarface. I know a lot of people are going to listen to this
• 47:56
  one. A lot of people are diehard fans.
• 47:58
  Do you two have a mural of your great Tony Montana in your room?
• 48:04
  I did have a poster of Tony Montana, of Scarface, but it wasn't because I wanted
• 48:09
  to be a plastic gangster. It's just because I loved the film.
• 48:11
  You know, it's not that I was like, I don't know, go out and be a badass,
• 48:16
  you know, or a cocaine drug lord, you know, or have a war with Bolivians.
• 48:21
  But, you know, I just think it's a good fun. There you go.
• 48:25
  Yeah. Well, even talking about it and the love for it has in the rap community
• 48:30
  and so forth. That's cool. It gives it longevity.
• 48:33
  And it's nice to see, you know, I like De Palma's work and I like to see it
• 48:37
  be more appreciated than when it first originally came out, which it wasn't.
• 48:40
  And it also has a sequel, technically, a video game where Tony survives the shootout.
• 48:46
  I'm not a gamer. I'm not a gamer.
• 48:49
  But so i haven't played a game but in the
• 48:53
  game these games nowadays it's not like
• 48:56
  fucking years ago where it was like pac-man and pong
• 48:59
  you know they're very much more elaborate and there's an actual narrative and
• 49:02
  story but in the story of this game apparently tony has survived about 50 bullets
• 49:07
  and he's out to get revenge fuck man that's stupid i'm surprised they made the
• 49:15
  movie Yeah. Well, there you go.
• 49:18
  Guys, listen, now this week, we've had a massive charge of downloads,
• 49:22
  and I was talking in the thousands and thousands, and it was in our last couple
• 49:26
  days, and we greatly appreciate it for all the new listeners,
• 49:30
  particularly in Brazil and Argentina and India, Germany.
• 49:36
  The U.S. increased in Illinois, Vermont, Maine, all the way to Japan.
• 49:44
  What about any Cuban or Bolivian listeners?
• 49:48
  We've maybe heard of it in Scarface.
• 49:51
  We will now, maybe. Maybe that was it. South America, we got mass research. Maybe that's what it is.
• 49:56
  No offense to the good people of Bolivia and Cuba. Yeah, we're not trying to.
• 50:00
  Yeah, way to go. Great. We're going to lose our listeners.
• 50:04
  That'll be our downfall. fuck. Yeah.
• 50:09
  But there you go. Kalito's Way is up next. Guys, give us a shout at citizenframe
• 50:13
  underscore podcast on Instagram and of course Facebook.
• 50:16
  And we're going to be redoing our Facebook page and some other stuff.
• 50:20
  And then after we do Kalito's Way, that's right. It's Halloween month and a half. Oh, yes.
• 50:26
  We've got the Halloween titles picked. We're doing some, a couple of Mary Bravas.
• 50:30
  We're doing a Dario Gento, maybe even a Carpenter.
• 50:35
  And we got to do the Black Phone 2 is coming out this October. I'm looking forward to.
• 50:41
  So we got some stuff and then we got Christmas month, which I know Trevor's
• 50:45
  excited for. Oh yeah. It's because he loves to pick his Hallmark movie.
• 50:50
  Oh yeah. I'm looking forward to it. You know, like slop.
• 50:55
  So, and then we'll definitely, I believe Santa Night, Dead of the Night remake is out.
• 51:00
  So probably people get that in. That'd be fun. Yeah.
• 51:04
  All right, guys, thanks for listening. Take care of yourselves. We'll chat to you.
• 51:14
  Music.