“Say hello to my little friend.”
Directed by Brian De Palma and written by Oliver Stone, Scarface was released in 1983 with high hopes. An updated version of the 1932 gangster classic of the same name, the newest version starred Al Pacino as the Cuban immigrant Tony Montana, who desperately wants his own version of the American Dream. He makes his way up the ranks in the Miami drug world to become a powerful kingpin, only to see his empire crumble under his own greed and obsession.
Unfortunately, however, when the film hit the theaters, reactions were mixed and Hollywood, in general, backed away from it, deeming it too violent. Scarface eventually developed a sort of cult status, whose fans would recite Tony’s over-the-top lines again and again. One could not deny its impact on American cinema.
After 20 years, the film is finally getting the recognition it deserves. Scarface is being released on a special 20th anniversary two-disc DVD set and is poised to attract a whole new legion of fans. Hollywood.com got a chance to talk to Steven Bauer, who, as a young actor just starting out, played the tragic role of Tony Montana’s right-hand man, Manny Ray. As he tells us, making Scarface was an experience both exhilarating and exasperating.
Now, 20 years later, Bauer wants the world to know Scarface is here to stay.
How does it feel to revisit this experience, with the DVD release?
Steven Bauer: I’ll tell you, 20 years ago, the whole experience was very exciting but at the same time, was also very frustrating and disappointing because of the backlash it received for the film’s violence. I remember when we saw the premiere of our film. It was on my birthday, Dec. 2, 1983. In New York City. Martin Scorsese was sitting in front of us, and he turned around after the film and told me what great work it was. But then he said, “You guys should be prepared because they are going to hate it out there.” And I said, “Out there?” He said, “No, no, the general public will love it. There’s no denying it, but in Hollywood, they will hate it. They will turn on you and shut you out.” And I looked at him and asked why he would say that. Martin said, “Because its about them. It’s what they fear.” Of course, I was hoping that wasn’t true. But he called it.
Well, Scorsese was obviously talking to you from experience since his rather violent 1976 Taxi Driver certainly didn’t get recognized as a classic until much later.
That’s exactly right. And oddly enough many of [Scarface‘s] detractors didn’t even see it! They had only heard about it and decided to jump on a politically correct bandwagon at the time about the film being too violent. It was just so lame. And you know what? For years afterward, I would run into these same people who would admit to me they were closet Scarface fans. Producers who would quietly approach me and say, “By the way, you guys were awesome in Scarface. What an awesome film!” And in my head, I’d be screaming, “What you mean what an awesome film? Weren’t you one of those people who wouldn’t even acknowledged it? Who told us publicly that we made a mistake?” It was so frustrating.
Why do you think people reacted so violently, so to speak?
If you look at 1983, the film of the year was Terms of Endearment. Scarface was lumped in under the gratuitously violent banner. I mean, we knew it was violent, that it depicted a violent time and place. But it wasn’t the end all of the thing. It wasn’t there to glorify violence in any way. Or glorify the substances, the vice of these individuals. It’s a moral tale of an immigrant who really feels like he survived hell already. And now he has a golden, almost fantasy opportunity to get everything he wanted as long as he fights for. But like all tragic heroes…
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Scarface could be considered very Shakespearean.
Good, I’m glad you think so! It’s very refreshing to have someone concur with that perception of that story. [Scarface] was adapted from the 1932 classic [of the same name, starring Paul Muni] which was so powerful, so strong, so incendiary, that it was, as well, banned during its time. After several decades, the film was showing in a revival theater on the upper Westside [of Manhattan] and Al [Pacino] saw it. He was so struck by Paul Muni‘s larger-than-life performance that he wanted to remake it.
How did you get the part of Manny?
I’m actually Cuban-born, born in 1956 the year Fidel Castro came into power and my father moved my family to Miami a few years later when things were starting to look bad. Later, when I decided acting was my thing, I was in New York studying under Stella Adler and this audition came up for Scarface. I met with Brian [De Palma] and [producer] Martin [Bregman], who both thought I was perfect for the role. But the test was meeting Al.
And how did that go?
It was love at first sight, absolutely. I was nervous, of course. And everyone was telling me that you’ll know right away, but I was thinking, god, would he like me, but I walked in and it just an immediate connection between us. We just hit it off; we were on the same wave length. He’s a sweet, sweet person, with a heart of gold and a huge capacity for warmth. He also realized I was brought in his path to bring all of my cultural background and experience to him. We met everyday for a month and hung out. We were flying–and laughing all the way.
For all the tragic elements, as you say, you can definitely tell you two had some fun making Scarface. I particularly like the scene where you are explaining to Tony, rather visually, how to get a woman.
[Laughs] Oliver Stonehad actually written [the tongue movement] into the script. I mean, when I read that part, I was like, “Oh no, you’ve got to be kidding.” But Oliver came up to me and said, “Come on, Steve, you’re from Miami. Haven’t you ever seen a guy do that?” I mean, yeah, I’d maybe seen that done before, but Oliver said, “Just do it.” So I did and everyone was like, “Oh yeah, perfect. That really reads on camera.” That was it, I was committed. But seriously, this was my first film. And it was nothing short of what every young actor dreams their first film experience would be like. Everything was at stake for me.
What have you learned in the 20 years since Scarface‘s release?
I’ve learned not to attach personal feelings to critics who review your work. It’s their opinions, their perceptions–it’s a very subjective thing and you can be hurt. Al tried to prepare me for it, as well. I mean, for me Scarface was so different from anything that came before and still so different from anything that came after.
Now you’ll reaching a whole new legion of fans with this DVD release.
We’ve come a long way, that’s for sure. It’s the kids of those people who were around during that time who are seeing it now. I think the whole DVD craze has provided opportunities for material that, for those interested in it, explains the whole history and background in getting a film made, which is great.
Knowing the film is finally getting the recognition it deserves, how do you feel?
Vindicated. It’s amazing how Scarface continues. It’s the gift that keeps giving.
The two-disc DVD set of Scarface will be available in stores Sept. 30.
