Scarface (1932 film) - Scarface (1932 film)

Yorliq
Tony and Johnny fight each other on a painted theatrical release poster.
Teatrlashtirilgan plakat
Rejissor
Tomonidan ishlab chiqarilgan
Ssenariy muallifi
Asoslangan
Bosh rollarda
Musiqa muallifi
Kinematografiya
TahrirlanganEdvard Kurtiss
Ishlab chiqarish
kompaniya
Caddo kompaniyasi
TarqatganBirlashgan rassomlar
Ishlab chiqarilish sanasi
  • 1932 yil 9-aprel (1932-04-09)
Ish vaqti
95 daqiqa[1]
MamlakatQo'shma Shtatlar
Til
  • Ingliz tili
  • Italyancha
Teatr kassasi$600,000[2]

Yorliq (shuningdek, nomi bilan tanilgan Scarface: Millatning sharmandasi va Millatning sharmandasi) 1932 yilgi amerikalik oldindan kod gangster filmi rejissor Xovard Xoks va Hawks va tomonidan ishlab chiqarilgan Xovard Xyuz. Ssenariy muallifi Ben Xech, erkin asoslanadi 1929 yilgi roman tomonidan Armitage Trail qaysi tomonidan ilhomlangan Al Kapone. Filmda yulduzlar Pol Muni Chikagodagi to'dalar orqali zo'ravonlik bilan ko'tarilgan gangster Antonio "Toni" Kamonte singari. Ayni paytda, Kamonte o'z xo'jayinlarining ma'shuqasini ta'qib qilmoqda, chunki Kamontening singlisi uning eng yaxshi hitmanini ta'qib qilmoqda. Kaponening hayotiga ochiq bog'lab qo'yilgan holda, bitta sahnada versiyasi tasvirlangan Aziz Sevishganlar kuni qirg'ini.

Xyuz Trailning romaniga huquqlarni sotib olgandan so'ng, Xyuz tezda filmni rejissyorlik qilish va yozish uchun Xoks va Xxtni tanladi. 1931 yil yanvaridan boshlab Xekt ssenariyni o'n bir kun davomida yozdi. Yorliq ning kiritilishidan oldin ishlab chiqarilgan Ishlab chiqarish kodini boshqarish 1934 yilda filmlar tarkibi to'g'risidagi qoidalarni amalga oshirgan. Biroq, eng yumshoq kashshof bo'lgan Xeys kodeksi katta o'zgarishlarni talab qildi, jumladan gangsterlarni qoralovchi prolog, Camonte-ni aniqroq reprehenatsiya qilishning muqobil oxiri va muqobil unvon Millatning sharmandasi. Tsenzurachilar film zo'ravonlik va jinoyatchilikni ulug'lashiga ishonishdi. Ushbu o'zgarishlar filmni bir yilga kechiktirdi, ammo ba'zi namoyishlar asl oxirini saqlab qoldi. Filmning zamonaviy ko'rsatuvlari asl tugashga ega, ammo ba'zi DVD-versiyalarda alternativ tugatish ham xususiyat sifatida mavjud; ushbu versiyalar Xeyz va Xoklarning Xeyslar idorasi tomonidan tasdiqlanishi uchun zarur bo'lgan o'zgarishlarni saqlab qolishdi. Hech qanday to'liq o'zgartirilmagan versiya mavjudligi ma'lum emas.

Tomoshabinlarni qabul qilish ijobiy bo'ldi, ammo senzuralar filmni bir nechta shahar va shtatlarda taqiqlab qo'ydi, shu sababli Xyuz uni muomaladan chiqarib, o'z omborida saqlashga majbur bo'ldi. Filmga bo'lgan huquq 1970-yillarda Xyuzning o'limidan keyin tiklandi. Bilan birga Kichkina Qaysar va Xalq dushmani (ikkalasi ham 1931), Yorliq eng muhim gangster filmlari qatoriga kiradi va janrga katta ta'sir ko'rsatdi.

Yorliq ga qo'shildi Milliy filmlar registri tomonidan 1994 yilda Kongress kutubxonasi. 2008 yilda, Amerika kino instituti sanab o'tilgan Yorliq oltinchi eng yaxshi gangster filmi sifatida. Bu qayta tiklandi 1983 yil shu nomdagi film yulduzcha Al Pacino.

Uchastka

Johnny and Tony sitting next to each other at a table both with matches in their hands
Jon "Jonni" Lovo rolidagi Osgood Perkins va Polsha Muni Antonio "Toni" Kamonte rolida, film treyleridagi sahnada.

Yilda 1920-yillar Chikago, italiyalik immigrant Antonio "Toni" Kamonte (Pol Muni ) italiyalik mafioz Jon "Jonni" Lovoning buyrug'i bilan harakat qiladi (Osgood Perkins ) va shaharning etakchi jinoyatchisi "Katta" Lui Kostillo o'ldiradi Janubiy tomon. Johnny Toni o'zining asosiy leytenanti sifatida Janubiy Sidni nazoratini o'z zimmasiga oldi va ko'p sonli noqonuniy pivoni spikerlarga sotdi va raqib kiyimlari boshqaradigan barlarda harakat qildi. Biroq, Jonni Toni bir necha bor O'Hara boshchiligidagi Irlandiya to'dalari bilan aralashmaslik haqida ogohlantiradi Shimoliy tomon. Tez orada Toni bu buyruqlarni e'tiborsiz qoldiradi, O'Haraga tegishli barlarni to'sib qo'yadi va politsiya va raqib gangsterlarning e'tiborini tortadi. Jonni Toni nazorati ostida emasligini tushunadi va o'z o'rnini egallashga intiladi.

Ayni paytda Toni Jonnining qiz do'sti Poppini ta'qib qilmoqda (Karen Morley ) ortib borayotgan ishonch bilan. Avvaliga u uni rad etadi, ammo obro'si ko'tarilishi bilan unga ko'proq e'tibor beradi. U o'zining "dabdabali" kvartirasiga tashrif buyurdi, u erda u elektr taxtali reklama haqidagi fikrini namoyish etdi Kukning sayohatlari, unda unga ilhom beradigan shior mavjud: "Dunyo sizniki".

Toni oxir-oqibat urush e'lon qilib, Shimoliy tomonni egallab olishga qaror qiladi. U eng yaxshi odamlaridan biri va yaqin do'sti bo'lgan Guino Rinaldoni tanga aylantirib, O'Harani o'zi uchun asos sifatida foydalanadigan floristlar do'konida o'ldirish uchun yuboradi. Bu endi Gaffni boshchiligidagi va qurollangan Shimoliy Saydadagi to'dalardan qattiq qasos olib keladi Tompson avtomatlari - Toni xayolini bir zumda qamrab oladi. Toni o'z kuchlarini Shimoliy Saydadagi to'dalarni yo'q qilish va ularning bozorini egallab olish uchun olib boradi garajda bir nechta raqiblarini o'ldirishda politsiya xodimlarini taqlid qilish. Toni Gaffni bouling zalida zarba berayotganda uni o'ldiradi.

Janubiy tarafdagi to'da va Ko'knori klubga borishadi va Toni va Ko'knori Jonni oldida birga raqsga tushishadi. Toni Ko'knarni o'g'irlash niyatida ekanligini aniq ko'rsatgandan so'ng, Jonni uning himoyachisi o'z o'rnini egallashga harakat qilmoqda, deb ishonadi va u haydab ketayotganda Toni o'ldirilishini tashkil qiladi. Toni ushbu hujumdan qutulib qoldi va Gino bilan birga Jonni o'ldirishdi va Toni shaharning shubhasiz boshlig'i sifatida qoldirishdi. Borgan sari tobora og'irlashib borayotgan politsiya kuchlaridan qochish uchun Toni va Ko'knori bir oyga Chikagodan jo'nab ketishdi.

Tony headshot in a gangster style fedora
Pol Muni uchun treylerda Yorliq

Toni xatti-harakatlari jamoatchilik noroziligiga sabab bo'ldi va politsiya asta-sekin yopilmoqda. U o'zining sevimli singlisi Francesca "Cesca" ni ko'rgandan keyin (Ann Dvorak ) Gino bilan, er-xotin o'zlarining yashirin nikohlari to'g'risida xabardor qilishlaridan oldin, u do'stini hasad bilan g'azab bilan o'ldiradi. Uning singlisi bezovtalanib yuguradi, ehtimol politsiyaga xabar berish uchun. Politsiya Toni Guinoning qotilligi uchun hibsga olishga harakat qiladi va Toni o'z uyida yashirinib, politsiyaga qarata o'q uzishga tayyorlanmoqda. Ceska uni o'ldirishni rejalashtirgan holda qaytib keladi, ammo politsiyaga qarshi kurashishda unga yordam berishga qaror qiladi. Toni va Seska o'zlarini qurollantiradi va Toni militsionerlarga derazadan miltiq otib, manyakal kulishadi. Bir necha lahzadan so'ng, Ceska adashgan o'q bilan o'ldiriladi. Cesca ismini kvartira deb atab, ko'z yoshi to'kilgan gaz bilan to'ldirilgan Toni zinapoyadan chiqib ketadi va politsiya unga qarshi chiqadi. Toni o'z hayotini so'raydi, ammo tanaffus qiladi, noma'lum ofitser uni Tommy qurolidan otib tashlaydi. U bir lahzaga qoqilib, ariqqa tushib o'ladi. Xursandchilik tovushlari orasida "Dunyo sizniki" deb nomlangan elektr billboard yonmoqda.

Cast

Ishlab chiqarish

Rivojlanish

Ishbilarmon maqnat Xovard Xyuz, filmni suratga olish bilan shug'ullangan, 1931 yildagi filmidagi muvaffaqiyatdan keyin kassa yutuqlarini istagan Old sahifa.[5] Gangster filmlari yoshida 1930-yillarning boshlarida dolzarb bo'lgan Taqiq, va Xyuz gangster hayotiga asoslangan film suratga olmoqchi edi Al Kapone janrdagi boshqa barcha filmlardan ustun.[6] Unga filmni suratga olishdan bosh tortish tavsiya qilingan, chunki janr gavjum bo'lgan; Kichkina Qaysar yulduzcha Edvard G. Robinson va Xalq dushmani yulduzcha Jeyms Keyni allaqachon kassadagi muvaffaqiyatlar edi va Warner Bros. gangster janri bilan yangi hech narsa qilish mumkin emasligini da'vo qildi.[7] Bundan tashqari, kabi sanoat tsenzuralari Hays ofisi ommaviy axborot vositalarida jinoyatchilikni avj oldirish bilan bog'liq bo'lgan.[8][9]

Xyuz huquqlarini sotib oldi Armitage Trail's roman Yorliq, Kapone hayotidan ilhomlangan.[10] Trail 20-yillarning boshlarida bir qator detektivlik jurnallari uchun yozgan, ammo 28 yoshida yurak xurujidan vafot etganidan oldin vafot etgan. Yorliq.[11] Xyuz Nyu-Yorkdagi muxbir va Kaponedagi avtoritet Fred Paslini yozuvchi sifatida yollagan. - deb so'radi Xyuz Ben Xech, 1929 yilda birinchi bo'lib g'olib bo'lgan "Eng yaxshi original ssenariy" uchun Oskar mukofoti uning jim jinoyat filmi uchun Dunyo olami, bosh yozuvchi bo'lish.[12] Xuzdan ish beruvchi sifatida shubhalangan Xekt har kuni soat oltida to'lashni talab qiladigan kunlik ish haqini 1000 AQSh dollarini talab qildi. Xxt, agar Xyuz firibgar bo'lib chiqsa, u faqat bir kunlik mehnatini behuda sarflashini aytdi.[13]

Xyuz kinorejissyorni xohlamoqda Xovard Xoks yo'naltirish va birgalikda ishlab chiqarish.[14] Bu Hawksni ajablantirdi, chunki ikkalasi hech qachon do'stona munosabatda bo'lmagan; Xuz 1930 yil iyul oyida Xovard Xoksga qarshi Xoksning filmi deb da'vo qo'zg'agan edi Tong Patrol filmini plagiat qilgan edi Jahannam farishtalari.[15] Golf o'yini davomida Xyuz suddan voz kechishga va'da berdi va o'n sakkizinchi teshikka kelib Xoks filmni boshqarishga qiziqib qoldi. U Xaxtning bosh yozuvchi bo'lishini kashf etganida, u yanada ko'proq ishonch hosil qildi.[16] Xekt va Xoks birgalikda ishladilar, ular Kapone obrazini xuddi shunday tasvirlashni niyat qildilar Borgia oilasi, shu jumladan, Trail romanida mavjud bo'lgan asosiy belgi va uning singlisi o'rtasidagi intsest taklifi.[17]

Yozish

Xekt ssenariyni 1931 yil yanvar oyida Trail romaniga mos ravishda o'n bir kun davomida yozgan. Qo'shimcha yozuv Fred Pasley tomonidan taqdim etilgan va Burnett, roman muallifi Kichik Qaysar, ustiga film Kichkina Qaysar asoslangan edi. Pasli kitobning elementlarini o'z ichiga olgan ssenariyni yozgan Al Kapone: O'z-o'zidan ishlab chiqarilgan odamning biografiyasi; kitobda Toni Kamontening filmga kiritilishiga o'xshash Capone bilan sartaroshxona sahnasi mavjud. Pasley ssenariydagi ishi uchun taqdirlanmagan.[18] Jon Li Mahin va Seton I. Miller davomiylik va dialog uchun ssenariyni qayta yozdi.[19]

Besh yozuvchi bo'lganligi sababli, qaysi yozuvchi qaysi tarkibiy qismlarga hissa qo'shganini farqlash qiyin; ammo, tugashi Yorliq Xektning birinchi gangster filmiga o'xshaydi Dunyo olami, bu erda gangster Bull Vid o'zini sevgilisi bilan o'z kvartirasida ushlaydi va tashqarida politsiya to'dalariga o'q uzadi va shu tariqa Xektning hissasi bo'lishi mumkin.[19]

Ning film versiyasi Yorliq romanga unchalik o'xshamaydi.[20] Garchi filmda bir xil asosiy qahramonlar, syujet nuqtalari va insestual podtonlar mavjud bo'lsa-da, personajlar uzunligi va sonini qisqartirish va tsenzurani idoralarining talablarini qondirish uchun o'zgarishlar kiritildi. Gangsterlarni kamroq hayratga soladigan qilib ko'rsatish uchun Toni xarakteri romandagiga qaraganda kamroq aqlli va shafqatsizroq ko'rinishga keltirildi. Xuddi shu tarzda, politsiya korruptsiyasini tasvirlamaslik uchun Toni va politsiya xodimi o'rtasidagi birodarlik munosabatlari olib tashlandi.[21]

Capone bilan aloqalar

Film ham, roman ham bemalol gangster Al Kaponening hayotiga asoslangan, uning taxallusi "Scarface" edi.[22] Belgilar va joylarning nomlari faqat minimal darajada o'zgartirildi. Kapone Kamontega aylandi, Torrio Lovo, Moran esa Doranga aylandi. Ba'zi dastlabki ssenariylarda Kolosimo Kolisimo va O'Bannion Bannon bo'lgan, ammo ismlar mos ravishda Kostillo va O'Hara deb o'zgartirilgan. Bunga, shu jumladan belgilarga kiritilgan boshqa o'zgarishlar va noma'lumlikni saqlab qolish uchun boshqa joylarni aniqlash, tsenzuraga va Hawksning tarixiy tafsilotlardan haddan tashqari foydalanishdan xavotirlanishiga bog'liq edi.[23]

Ben Xekt Kapone bilan uchrashgan va "Chikago haqida ko'p narsalarni bilgan", shuning uchun u ssenariy uchun izlanishlar olib bormagan.[24] Xaxtning so'zlariga ko'ra, u ssenariy ustida ishlayotganda, Kapone filmni Kapone hayotiga asoslanmaganligiga ishonch hosil qilish uchun ikkita odamni Gollivudga uning oldiga yuborgan.[13] U ularga Scarface personaji ko'plab odamlarga parodiya bo'lganligini va unvon juda qiziqarli bo'lgani uchun tanlanganligini aytdi. Ikkovi Xektni yolg'iz qoldirishdi.[13]

Kaponega va Chikagodagi to'dalar urushidagi haqiqiy voqealarga havolalar o'sha paytda tomoshabinlarga ravshan edi. Munining xarakterida xuddi shu kabi janglarda olingan Kaponega o'xshash chandiq bor edi.[25] Kamonte filmidagi politsiya a'zosi Besh ochko to'da Bruklindagi Capone taniqli a'zosi bo'lgan.[26][27] Toni o'z klubi qabulxonasida xo'jayini "Katta Lui" Kostiloni o'ldirdi; Kapone o'zining birinchi xo'jayinining o'ldirilishida ishtirok etgan "Katta Jim" Kolosimo 1920 yilda.[28] Raqib xo'jayini O'Hara o'zining gul do'konida o'ldirilgan; Kaponening odamlari o'ldirildi Din O'Bannion 1924 yilda uning gul do'konida.[29] Garajdagi ettita odamning politsiya xodimi sifatida qurollangan ikki kishining o'ldirilishi 1929 yildagi Avliyo Valentin kunidagi qatliomni aks ettiradi. Bu raqib to'da etakchisi zo'rg'a otishdan qochib, to'da rahbari kabi Xatolar Moran.[30] Film Kaponening ko'plab jinoyatlar sodir bo'lgan joyi - Kaponening Janubiy tomoni o'rtasida joylashgan 22-ko'cha va Vabash prospektining chorrahasida ochiladi.[31]

Capone haqida aniq ma'lumotlarga qaramay, Capone filmni juda yaxshi ko'rganligi haqida mish-mishlar tarqaldi.[32] Ammo, bu, ehtimol, Xoks tomonidan mubolag'a qilingan da'vo bo'lishi mumkin edi, chunki Capone filmni namoyish qilish paytida soliq to'lashdan bosh tortgani uchun Atlantada qamoqqa tashlangan.[33]

Kasting

Tony and Cesca hugging each other
Pol Muni va Enn Dvorak Yorliq

Xoks va Xyuz kastingni qiyinlashtirdi, chunki aksariyat aktyorlar shartnoma tuzishdi va studiyalar o'z rassomlariga mustaqil prodyuserlar uchun mustaqil ishlashga ruxsat berishni xohlamadilar.[34] Ishlab chiqaruvchi Irving Talberg taklif qildi Klark Geybl, lekin Xoks Geyblni aktyor emas, balki shaxsiyat ekanligiga ishongan.[35] Brodveyda Pol Muni ko'rgandan so'ng, iste'dodlar bo'yicha agent Al Rozen uni bosh rolga taklif qildi. Muni dastlab o'zini bu rolga jismonan mos emasligini his qilib, rad etdi, ammo ssenariyni o'qib bo'lgach, uning rafiqasi Bella uni uni olishga ishontirdi.[36] Nyu-Yorkda o'tkazilgan sinovdan so'ng Xyuz, Xoks va Xxt Munini ushbu rolga tasdiqlashdi.[37]

Boris Karloff irlandiyalik gangster Gaffni rolini ijro etdi.[38] Jek La Rue Toni Kamontening sherigi Guino Rinaldo (Kaponening tansoqchisidan o'rnak olgan) sifatida suratga olingan Frank Rio ) lekin u Muni-dan balandroq bo'lganligi sababli Xoks Muni-ning qattiq Scarface personajiga soya solaman deb qo'rqardi.[35] Xoks uni sovrinli jangda uchratgandan so'ng, uning o'rnini o'sha paytdagi kurashchan aktyor Jorj Raft egalladi.[39] O'tgan yili Raft o'zining badiiy filmidagi debyuti bilan juda o'xshash rol o'ynagan edi Tezkor millionlar yulduzcha Spenser Treysi, lekin Yorliq rol Raftni yulduzga aylantiradi.[40]

Karen Morley MGM bilan shartnoma tuzgan bo'lsa-da, Hawks MGM studiyasi ijrochisi bilan yaqin edi Eddi Mannix, film uchun Morleyga qarz bergan kim. Xabarlarga ko'ra, unga ko'knori yoki Seska rolini tanlash imkoniyati berilgan. Cesca rolini kuchliroq bo'lishiga qaramay, u ko'knorni tanladi, chunki Ceska do'sti Ann Dvorakka yaxshi mos kelishini his qildi. U buni "hayotida [qilgan] eng yoqimli ishi" deb bildi.[41] Morley 20 yoshli Dvorakni tanishtirish uchun Xoksning uyidagi ziyofatga taklif qildi. Xoksning so'zlariga ko'ra, ziyofatda Dvorak o'zining sevgisini o'ynagan Jorj Raftga qarshi chiqdi. Dastlab u uning raqsga taklifini rad etdi. U uni o'ziga jalb qilish uchun uning oldida raqsga tushishga urindi; oxir-oqibat, u taslim bo'ldi va ularning raqsi birgalikda partiyani to'xtatdi.[42] Ushbu tadbirdan so'ng Xoks uni kastingga qiziqtirgan, ammo uning tajribasi yo'qligi haqida eslatmalar bergan. Ekran sinovidan so'ng, u unga bu qismni berdi va MGM uni xor qizi sifatida o'z shartnomasidan ozod qilishga tayyor edi.[43] Dvorak ikkalasi ham onasidan ruxsat olishi kerak edi Anna Lehr va Xovard Xoks bilan voyaga etmagan holda imzolash imkoniyatiga ega bo'lish uchun Oliy sudga yuborilgan arizani yutib olish.[44]

Suratga olish

Suratga olish ishlari olti oy davom etdi, bu 1930-yillarning boshlarida suratga olingan filmlar uchun uzoq vaqt bo'lgan.[45] Xovard Xyuz filmni suratga olishga aralashmaslik uchun off-off rejimida qoldi. Xyuz Xokni avtoulovlarni ta'qib qilish, avariya va avtomat o'qlarini qo'shib, filmni iloji boricha hayajonli qilishga undadi.[46] Xoks filmni uch xil joyda suratga oldi: Metropolitan Studios, Garold Lloyd Studiyalar va Maya teatri Los-Anjelesda. Filmni suratga olish aktyorlar guruhi va ishchilar haftasiga etti kun ishlashlari bilan uch oy davom etdi. Restoranda filmning eng zo'ravon sahnasi uchun Xoks qo'shimcha narsalarga zarar bermaslik uchun to'plamni tozalab, to'plamni pulemyotlardan o'qqa tutdi. Aktyorlar sahnani ekran oldida namoyish qilishdi, tortishish orqada aks etgan, shuning uchun restorandagi stollar ostida hamma gavjum bo'lganligi sababli, xona bir vaqtning o'zida olov ostida bo'lgan.[47]

Filmni suratga olish paytida Xoks va Xyuz Xeylar idorasi bilan uchrashib, tahrirdagi masalalarni muhokama qildilar. Shunga qaramay, Yorliq filmga tushirildi va tezda birlashtirildi. 1931 yil sentyabr oyida Kaliforniya Jinoyatchilik Komissiyasi va politsiya amaldorlari uchun filmning taxminiy qismi namoyish etildi, ularning ikkalasi ham film tomoshabinlar uchun xavfli ta'sir qiladi yoki jinoiy javob beradi deb o'ylamadilar. Irving Talbergga yuqori darajadagi skrining o'tkazildi va u filmdan katta taassurot qoldirdi. Film ijobiy fikr bildirganiga qaramay, Xeys Office so'nggi tasdiqlashdan oldin o'zgarishlarni talab qildi.[48]

Tsenzura

Yorliq davomida ishlab chiqarilgan va suratga olingan Gollivudning kodgacha bo'lgan davri 1930 yildan 1934 yilgacha bo'lgan davr. Kodeksgacha bo'lgan davr norasmiy va tasodifiy namoyishi va film tarkibini tartibga solish bilan ajralib turadi. Ishlab chiqarish kodini boshqarish (PCA) 1934 yil iyulda. PCA ta'siridan oldin tsenzurani Amerikaning Motion Pictures prodyuserlari va distribyutorlari (MPPDA). 1930 yilda, Will Hays, MPPDA raisi, filmlar tarkibini tartibga solishga urindi; MPPDA Hays idorasi sifatida tanildi.[49] Xeys idorasining maqsadi yalang'ochlik, shahvoniylik, giyohvandlik va jinoyatchilikni tsenzuradan o'tkazish edi.[50] Keyinchalik aniq Yorliq, Xeyslar idorasi jinoyatchilarga o'z yo'llarining xatosini tan olishlarini yoki jinoyatchilarning jazolanishini ko'rsatib, jinoyatni xushyoqish bilan tasvirlashdan qochmoqchi edilar.[51] Biroq, Xeyslar idorasi, 1934 yilda MPPDA rasmiy ravishda Ishlab chiqarish kodeksiga rioya qilishga va'da bermaguncha, filmdan materialni olib tashlash vakolatiga ega emas edi, shuning uchun ular sahnalarni olib tashlash yoki filmlar ishlab chiqarilishining oldini olish uchun film namoyishini kechiktirishga va lobbichilik qilishga tayanishdi.[52] Filmlar Xeys idorasidan o'ta g'ayrioddiy sahnalarni qo'shib, ularni olib tashlash va Xeylar ofisini qoniqtirishi uchun filmda qolgan axloqsizlikni sezmasliklari uchun qochib ketishdi.[53]

J.E.Smit telefon qildi Yorliq, "Gollivud tarixidagi eng yuqori tsenzuraga uchragan filmlardan biri."[54] Xovard Xoks Xeyslar idorasida filmga qarshi shaxsiy vendetalar bo'lganiga ishongan bo'lsa, Xyuz tsenzurani buzilgan siyosatchilarning "yashirin va siyosiy sabablari" tufayli deb bilgan.[55] Biroq, Nyu-York tsenzurasi kengashlaridan Jeyms Vingeyt Xyuz filmni ishlab chiqarishda "kassa reklamasi" bilan ovora bo'lganligini rad etdi.[56] Hays ofisi tomonidan ssenariyni qayta yozish uchun bir necha bor talab qilinganidan so'ng, Xyuz Xoksga filmni suratga olish to'g'risida buyruq berdi: "Xeylar idorasini burang, uni iloji boricha aniqroq va jirkanch qiling".[57] Xeylar idorasi bundan g'azablandi Yorliq ular ekranga chiqqanda. Xays idorasi ma'lumotlariga ko'ra, Yorliq Kodni buzdi, chunki film Munining xarakteriga nisbatan xushyoqishni keltirib chiqardi va bu yoshlarga jinoyatchilikning muvaffaqiyatli usulini ochib berdi.[58] Xeys idorasi sahnalarni o'chirishga, gangsterizmni qoralash uchun sahnalarni qo'shishga va boshqacha tugashga chaqirdi. Ular filmning oxirida Toni o'limi juda ulug'vor edi, deb ishonishgan. Zo'ravonlikdan tashqari, MPPDA bosh qahramon va uning singlisi o'rtasidagi noo'rin munosabatlar juda ochiq ekanligini sezdi, ayniqsa u uni tarsaki tushirganidan va kiyimini yirtib tashlaganidan keyin uni quchog'iga olganida; ular ushbu sahnani o'chirishni buyurdilar. Xyuz MPPDA roziligini olish uchun ko'proq zo'ravonlik sahnalarini o'chirib tashladi, gangsterizmni qoralash uchun prolog qo'shdi va yangi yakun yozdi.[59]

Bundan tashqari, gangsterizmni ochiqdan-ochiq qoralash uchun er-xotin sahnalar qo'shildi, masalan, gazeta noshiri ekranga qarab, hukumat va jamoatchilikni olomon zo'ravonligiga qarshi kurashda harakatlari yo'qligi uchun to'g'ridan-to'g'ri ogohlantiradi va sahna. bosh detektiv gangsterlarning ulug'lanishini qoralaydi.[60] Xoks qo'shimcha sahnalarni va navbatdagi tugashni suratga olishdan bosh tortdi. Ularni Rossen "hammuallif" unvoniga sazovor bo'lgan Richard Rossen boshqargan.[61] Xyuzga sarlavhani o'zgartirishni buyurdilar Xavf, Millat sharmandasi yoki Sariq film mavzusiga oydinlik kiritish uchun; bir oylik xurujlardan so'ng, u unvon bilan murosaga keldi Skarfiks, millatning sharmandasi va umumiy ma'noda "gangster" ni qoralovchi so'zboshi qo'shish orqali.[62] Xeyzning asl nusxasiga ruxsat berilmaganda, Xyuz filmni "Skar" nomi ostida chiqarishga urinib ko'rdi.[63] Sarlavhadan tashqari, filmdan "Scarface" atamasi olib tashlandi. Toni Rinaldoni o'ldirgan sahnada Seska "qotil" so'zini aytadi, ammo uni "Scarface" so'zi bilan og'zini tortib olish mumkin.[64]

Asl ssenariyda Toni onasi o'g'lini so'zsiz sevib, uning turmush tarzini maqtagan va hatto undan pul va sovg'alarni qabul qilgan. Bundan tashqari, bir siyosatchi ham bor edi, u shohsupada gangsterlarga qarshi kampaniyani olib borganiga qaramay, ular bilan soatlab ishqibozlik ko'rsatmoqda. Ssenariy Toni binoning o'zida qolishi bilan yakunlanadi, unga ko'z yosh oqizuvchi gaz va ko'plab o'qlar ta'sir etmagan. Bino yonib ketgandan so'ng, Toni qurol otilib chiqib ketishga majbur. Unga politsiya qurollari sepiladi, ammo beparvo ko'rinadi. Film davomida uni hibsga olgan politsiyachini payqab, u unga qarata o'q uzdi, faqat miltig'i bo'sh bo'lgan degan birgina "chertish" ovozi eshitildi. Politsiya xodimi uni bir necha bor o'qqa tutganidan keyin u o'ldiriladi. Soundtrackda u o'layotganda o'q uzishga uringanligi haqidagi takroriy chertish shovqini eshitiladi.[57]

Muqobil tugatish

Filmning birinchi versiyasi (A versiyasi) 1931 yil 8-sentabrda yakunlandi, ammo senzuralar oxirini o'zgartirishni talab qildi yoki ular berishdan bosh tortadilar Yorliq litsenziya. Pol Muni Broadway-dagi faoliyati tufayli 1931 yilda oxirini qayta suratga olmadi. Binobarin, Xoks tanani dubldan foydalanishga majbur bo'ldi. Korpusning ikki qavati asosan soyalar yordamida va uzoq zarbalar Munining yo'qligini ushbu sahnalarda yashirish uchun.[65] Muqobil tugatish (B versiyasi) asl tugashdan Toni tutilishi va u o'lishi bilan farq qiladi. Toni politsiyadan qochib qutulmoqchi bo'lgan va bir necha bor o'q uzilganidan keyin vafot etgan asl tugashidan farqli o'laroq, Toni istamay o'zini politsiyaga topshiradi. Uchrashuvdan keyin Toni yuzi ko'rsatilmaydi. Sudya jazoni tayinlash paytida Toni bilan murojaat qilayotgan voqea sodir bo'ladi. Keyingi sahna final bo'lib, unda Toni (qushlarning qarashidan ko'rinib turibdi) dorga olib kelingan va osilgan.[66]

Biroq, B versiyasi Nyu-York tsenzurasidan va Chikagodagi tsenzuradan o'tmadi. Xovard Xyuz Xeys idorasi filmni rad etishda shubhali niyatlarni his qilgan, chunki Xeys do'st bo'lgan Lui B. Mayer va Xyuz tsenzurani boy mustaqil raqobatchilarga filmlar ishlab chiqarishiga to'sqinlik qilish deb hisoblashgan. Uning filmi Mayerning filmlaridan ko'proq tomoshabinlar orasida ajralib turishiga ishongan Xyuz filmni Gollivud va Nyu-Yorkda namoyish etdi.[67] The New York Herald Tribune tsenzuraga qarshi kurashgan jasorati uchun Xyuzni maqtadi. Xyuz senzura qilingan filmdan voz kechdi va nihoyat 1932 yilda qat'iy senzuraga ega bo'lmagan shtatlarda A versiyasini qo'shib matnli kirish bilan chiqdi (Xyuz Nyu-York tsenzurasini sudga berishga harakat qildi). 1932 yilda chiqarilgan ushbu versiya bonafide kassa maqomiga va ijobiy tanqidiy sharhlarga olib keldi. Xyuz filmni senzura qilgan kengashlarga qarshi keyingi sud ishlarida muvaffaqiyat qozondi.[68][69] Matbuotning tanqidlari tufayli Xeys teatrlarda namoyish etilgan versiyani ilgari ma'qullagan tsenzuraga olingan film deb da'vo qildi.[67]

Musiqa

Shahar sharoitida bo'lganligi sababli, nongetgetik filmda musiqa (ekranda ko'rinmaydigan yoki hikoyada mavjud bo'lishi nazarda tutilgan) ishlatilmagan.[70] Filmda paydo bo'ladigan yagona musiqa - bu ochilish va yopilish krediti paytida va filmda tungi klubda bo'lgani kabi tabiiy ravishda musiqa paydo bo'ladigan sahnalarda. Adolf Tandler esa filmning musiqiy direktori bo'lib ishlagan Gus Arnxaym orkestrning dirijyori sifatida xizmat qilgan. Gus Arnxaym va uning Kokoanut-Grove orkestri ijro etmoqda "Sent-Luis Blyuz "tomonidan HOJATXONA. Qulay va "Ushbu kunlarning ba'zilari "tomonidan Shelton Bruks tungi klubda.[71] Toni filmidagi hushtak chalishi - bu sekstet dan Gaetano Donizetti mashhur opera Lucia di Lammermoor.[72][73] Ushbu kuyga "Bunday lahzada meni nima to'sqinlik qiladi?" Deb tarjima qilingan so'zlar qo'shiladi va ushbu kuy filmdagi zo'ravonlik sahnalarida paydo bo'lishda davom etmoqda.[74] Pianino chalayotganda Cesca aytadigan qo'shiq "Eski 97 ning halokati ".[75]

Madaniy ma'lumotnomalar

Toni va uning do'stlari jiddiy o'yinni tomosha qilish uchun, 2-aktning oxirida qoldiradilar Jon Kolton va Klemens Rendolfning Yomg'ir, asoslangan V. Somerset Maom hikoyasi "Miss Sadie Tompson "Spektakl 1922 yilda Broadway-da ochilgan va 1920-yillarda davom etgan. (Asarning film versiyasi Yomg'ir va bosh rollarda Joan Krouford, xuddi shu yili United Artists tomonidan chiqarildi Yorliq.)[76] Kamonte oilasi filmda unchalik sezilmaydigan va ko'pchilik tomoshabinlar e'tiboridan chetda qolgan bo'lsa-da, qisman Italo-Ispaniya Borgia oilasiga taqlid qilinishi kerak edi. Bu Toni Kamonti va uning singlisining ulushi bilan nozik va tortishuvsiz qarindoshlik munosabatlari orqali eng ko'zga ko'ringan.[17] Kamontening singlisining boshqa erkaklar bilan bo'lgan ishlariga haddan tashqari rashk qilishi bu munosabatlarga ishora qiladi.[77] Tasodif bilan Donizetti operani yozgan Lucrezia Borgia, Borgia oilasi haqida va Lucia di Lammermoor Toni Kamontening hushtagi yangragan joy.[78]

Tony holds a covered Tommy gun with other characters around him in a promotional card for the film stating
Film uchun reklama kartasi

Chiqarish

Tsenzuraning idoralari bilan kurash olib borilgandan so'ng, film deyarli bir yil kechikib, orqada chiqdi Xalq dushmani va Kichkina Qaysar bir vaqtning o'zida suratga olingan. Yorliq 1932 yil 9 aprelda teatrlarda namoyish etilgan.[54] Xyuz Nyu-Yorkda katta premyerani rejalashtirgan, ammo Nyu-York tsenzurasi kengashlari filmni namoyish qilishni rad etishgan. Ogayo, Virjiniya, Merilend va Kanzas shtatlaridagi davlat tsenzurasi kengashlari va Detroyt, Sietl, Portlend va Chikagodagi shahar tsenzurasi kengashlari ham filmni taqiqlashdi.[79] Xyuz o'z filmining chiqarilishiga to'sqinlik qilganligi uchun senzura kengashlarini sudga murojaat qilish bilan tahdid qildi New York Herald Tribune.[80] Har bir shtatda turli xil tsenzuralar kengashi bor edi, bu Xyuzga filmni qat'iy senzurasiz maydonga chiqarish imkonini berdi.[81] Uill Xeysning iltimosiga binoan Jeyson Joy qat'iy tsenzura kengashlarini ozod qilinishiga imkon berishiga ishontirdi Yorliq, chunki Xeys Ofisi Xyuzning qilgan o'zgarishlarini tan oldi va qadrladi Yorliq. Joy shtat tsenzurasi kengashlariga birma-bir tashrif buyurib, Xeys idorasi jinoyatchilikning ijobiy tasviriga qarshi bo'lgan bo'lsa-da, to'dalar haqidagi filmlar aslida gangsterlar hayotiga qarshi hujjatlar ekanligini ta'kidladi. Quvonch muvaffaqiyatli bo'ldi va oxir-oqibat barcha davlat va shahar tsenzurasi kengashlariga ruxsat berildi Yorliq faqat kesilgan va senzura qilingan versiyasini qabul qilib, ozod qilinishi kerak Yorliq.[82]

Film DVD-da 2007 yil 22 mayda chiqdi va 2012 yil 28 avgustda yana 100 yilligi munosabati bilan namoyish etildi. Universal studiyalar, tomonidan Universal Pictures uy o'yin-kulgisi. DVD ning ikkala versiyasida ham kirish qismi mavjud Tyorner klassik filmlari uy egasi va kino tarixchisi Robert Osborne va filmning muqobil tugashi.[83][84] Video va televidenieda film Xoksning asl tugashini saqlab qoladi, ammo u filmni suratga olish paytida amalga oshirishi kerak bo'lgan boshqa o'zgarishlarni o'z ichiga oladi.[85] Filmning mutlaqo o'zgartirilmagan va senzurasiz versiyasi borligi ma'lum emas.[86]

Qabul qilish

Chiqarish paytida tinglovchilarni qabul qilish odatda ijobiy bo'ldi.[46] Al Capone bilan bir necha bor kazinolarda uchrashgan Jorj Raftning so'zlariga ko'ra, film hatto Kaponening o'ziga ham yoqqan: "Agar siz mening o'g'il bolalarimdan biri tangalar tangalar bo'lsa, ular yigirma dollarlik tilla bo'ladilar", deb qo'shib qo'ydi.[87] Turli xillik keltirilgan Yorliq chunki "barcha gangsterlarning rasmlarida mavjud bo'lgan kuchli va jozibali shubha bu dozada ikki martalik dozada mavjud va uni majburiy o'yin-kulgiga aylantiradi" va aktyorlar "ular butun umrlari boshqa hech narsa qilmaganday" o'ynashadi.[88] The Milliy tekshiruv kengashi nomlangan Yorliq 1932 yilgi eng yaxshi rasmlardan biri sifatida.[89] Biroq, 1932 yilda ekranga chiqqan paytda, film va umuman gangster janri haqida keng jamoatchilik noroziligi bo'lgan, bu filmning kassa daromadlariga salbiy ta'sir ko'rsatgan.[90] Jek Alikoat berdi Yorliq ichida qattiq ko'rib chiqish Kundalik film zo'ravonlik va film mavzusi uni "aniq ko'ngil aynish tuyg'usi" bilan tark etgani. U filmni "hech qachon suratga olinmasligi kerak edi", deb davom etadi va filmni namoyish qilish "kinematografiya sanoatiga va u bilan bog'liq bo'lgan har bir kishiga hech qachon ko'rsatilmagan rasmga qaraganda ko'proq zarar etkazishi" ni aytadi.[91] Garchi Ben Xek Gollivuddagi ishini tez-tez tanqid qilsa-da, buni tan oldi Yorliq "u ko'rgan eng yaxshi yo'naltirilgan rasm" edi. Xech qildi; ammo, Muni faoliyatini tanqid qiling. Al Kaponeyni tanigan Xxt, Muni Kaponeni juda "jim" va "Gitler" ga o'xshash "kayfiyatni" aks ettirgan deb da'vo qilmoqda.[92] Ba'zi tanqidchilar ingliz aktyori Boris Karloffning gangster filmidagi talaffuzi joyida emas deb o'ylab, kastingga rozi bo'lmadilar; a Nyu-York Tayms maqolada "uning inglizcha talaffuzi bu rolga deyarli mos kelmaydi" deb yozilgan edi.[93] Biroq, boshqa tanqidchilar uni yuqori nuqta deb hisoblashdi.[94] Film kassalardan 600 ming dollar ishlab oldi va shu vaqtgacha Yorliq O'sha paytdagi Xyuzning boshqa filmlariga qaraganda moliyaviy jihatdan ko'proq muvaffaqiyat qozongan edi, chunki ishlab chiqarish katta xarajatlarga ega bo'lganligi sababli, film muvozanatni buzishdan ko'ra yaxshiroq ishlagan.[90]

Film italiyalik tashkilotlar va italyan millatiga mansub shaxslar o'rtasida g'azabni qo'zg'atdi va kinorejissyorlarning o'z filmlarida gangsterlar va botleggerlarni italyancha tasvirlash tendentsiyasini ta'kidladi. Filmda italiyalik amerikalik gangsterlar faoliyatini qoralab nutq so'zlaydi; tsenzurani tinchlantirish uchun bu keyinchalik ishlab chiqarishda qo'shilgan. Biroq, bu Italiya elchixonasining noroziligiga to'sqinlik qilmadi Yorliq.[95] Italiya jamoatchiligini haqoratli deb filmga ishonish, Amerikada Italiyaning o'g'illarini buyurtma qiling rasmiy ravishda filmni qoraladi va boshqa guruhlar jamoat a'zolarini italiyaliklar yoki italiyalik-amerikaliklarga nisbatan haqoratli filmni va boshqa filmlarni boykot qilishga chaqirishdi.[96] Uill Xeys Italiyadagi elchiga xat yozib, tekshiruvdan o'zini oqlab, film anaxronizm ekanligini, chunki u ikki yil davomida ishlab chiqarishda kechiktirilgani va o'sha paytdagi tsenzuraning amaldagi vakili emasligini aytdi.[95] Natsistlar Germaniyasi filmning doimiy ravishda taqiqlangan namoyishlari.[97] Angliyaning ba'zi shaharlari ishonib, filmni taqiqlashdi Britaniya Ksenzurasi Kengashi Gangster filmlariga nisbatan siyosat juda sust edi.[81] 1932 yil 19-avgustda va 1941 yil 29-avgustda Irlandiyada film taqiqlangan (muqobil nomi "to'da urushi" ostida). Qarorlar har safar Filmlar Apellyatsiya Kengashi tomonidan qo'llab-quvvatlandi. 1953 yil 24-aprelda taqiqlangan (asl nomi ostida). Hech qanday shikoyat berilmagan. Turli sabablarga ko'ra shov-shuvga berilmaslik, gangster turmush tarzini maftun etish va qahramon va uning singlisi o'rtasidagi qarindoshlik munosabatlari nazarda tutilgan.[98]

Qo'shma Shtatlarning bir nechta shaharlari, jumladan Chikago va ba'zi shtatlar filmni namoyish etishdan bosh tortdilar. Jurnal Kino klassiklari tsenzurani taqiqlaganiga qaramay, odamlarni filmni teatrlarda tomosha qilishni talab qilishga chaqirgan masala.[99] Film kassa rekordlarini yangiladi Vuds teatri to'qqiz yil davomida senzuralar tomonidan Chikagoda namoyish etilishi taqiqlanganidan so'ng, 1941 yil 20-noyabr kuni "Shukrona kuni" premyerasidan keyin Chikagoda.[100] Jamoatchilik orasida filmni maqbul kutib olishiga qaramay, senzuralar jangi va ba'zi matbuotning befarq sharhlari filmning kassada umuman yomon ishlashiga yordam berdi. Pul ishlashga qodir emasligingizdan xafa bo'ling Yorliq, Xovard Xyuz filmni muomaladan olib tashladi.[60] Film 1979 yilgacha, ba'zida esa, mavjud bo'lmay qoldi nashrlarni chiqarish shubhali manbalardan shubhali sifat.[101] 1933 yilda Xyuz rejissyorlik qilish va uning davomini yaratish rejalarini tuzgan Yorliq, ammo qat'iy tsenzura qoidalari tufayli film hech qachon suratga olinmagan.[102]

Rotten Tomatoes-dagi 43 ta sharhning namunalari asosida, Yorliq 98% reytingiga ega, o'rtacha reytingi 8.71 / 10. Tanqidchilarning umumiy fikri: "Bu Yorliq o'zining "kichkina do'sti" ni tark etadi va har xil turdagi issiqlikni to'playdi, zamonaviy ingl., hayajonli zo'ravonlik va ajoyib aktyorlarni aralashtiradi. "[103]

Sanoat qabulxonasi

1994 yilda, Yorliq Qo'shma Shtatlarda saqlash uchun tanlangan Milliy filmlar registri tomonidan Kongress kutubxonasi "madaniy, tarixiy yoki estetik ahamiyatga ega" sifatida.[104] Toni Kamontening xarakteri 47-o'rinda turadi AFIning 100 yilligi ... 100 ta qahramon va yovuz odam ro'yxat.[105] Film tanqidchi va rejissyor tomonidan eng yaxshi Amerika ovozli filmi deb topildi Jan-Lyuk Godar yilda Cahiers du Cinéma.[106] 2008 yil iyun oyida Amerika kino instituti uni oshkor qildi "O'nta eng yaxshi o'nlik" - ijodiy hamjamiyatning 1500 dan ortiq odamlari orasida o'tkazilgan so'rovnomadan so'ng - o'nta "klassik" Amerika filmi janridagi eng yaxshi o'nta film. Yorliq gangster filmi janridagi oltinchi eng yaxshi deb tan olindi. 1983 yilgi versiya 10-o'ringa joylashtirilgan Yorliq uni qayta tuzish bilan bir xil "10 ta eng yaxshi 10" ro'yxatini tuzgan yagona film.[107]

Tahlil

Shuningdek qarang: Gangster filmlari

Olimlar bu haqda bahslashmoqdalar Yorliq tarixiy ahamiyatga ega film yoki shunchaki Gollivud gangsterlari davridagi kinofilm sifatida tasniflanadi.[108] Uning tarixiy ahamiyatini filmning ssenariysi oshirgan: W.R.Burnett, gangster romani muallifi Kichkina Qaysar shu nomli film asosida Chikagodagi taniqli gangland tarixchisi Fred D. Pasli va sobiq Chikago muxbiri Ben Xaxt asos solingan.[109] Jim Kolismoning o'ldirilishi va Avliyo Valentin kunidagi qirg'inga o'xshash voqealar filmning realligi va haqiqiyligiga hissa qo'shadi.[77] Film tanqidchisi Robert E. Shervud filmda ta'kidlanganidek, "sotsiologik yoki tarixiy hujjat sifatida juda katta ahamiyatga ega ... [va] uni bostirish uchun mutlaqo oqlab bo'lmaydigan urinish qilingan - bu odobsizligi uchun emas ... balki u juda yaqinlashib qolgan. haqiqatni gapirish. "[110]

Ortiqcha

Filmshunoslik professori Fran Meysonning so'zlariga ko'ra, filmdagi taniqli mavzu ortiqcha. Katta Louie Costillo yovvoyi bazm qoldiqlarida o'tirar ekan, filmning ochilishi sahnani ochib beradi, do'stlariga uning keyingi partiyasi yanada kattaroq, yaxshiroq va "hamma narsaga" ega bo'lishiga ishontiradi.[111] Bu gangsterning zavqlanishda yoki zo'ravonlikda bo'lishidan tashqari, ortiqcha hayotini ko'rsatadi. Kostiloning o'lim sahnasi keyingi haddan tashqari ohangni belgilaydi. Ushbu sahnada tomoshabinlar faqat Toni Kamontening miltiq bilan soyasini ko'rishadi, otishmalar va jasadning polga urilgan ovozini eshitadilar. Zo'ravonlik sahnalari film davom etishi bilan yanada og'irlashadi. Filmdagi zo'ravonliklarning aksariyati montaj orqali namoyish etiladi, chunki sahnalar ketma-ket ketmoqda, Toni va uning to'dasi bar egalarini qo'pol muomala qilish, avtomashinani bombalash va etti kishini qirg'in qilish kabi shafqatsiz qotilliklarni namoyish etadi. devor. Bir sahnada pulemyotdan o'q otish paytida tezkor ravishda o'zgarib turadigan taqvim taqvimi ko'rsatilgan va bu haddan tashqari zo'ravonlikni aniq ko'rsatmoqda. Zo'ravonlik nafaqat gangsterlar tomonidan amalga oshiriladi. Toni va Seska bilan so'nggi sahnada bo'lgan politsiya nomutanosib politsiyachilar va turar-joy binosini o'rab turgan mashinalar orqali bir kishini ushlash uchun ko'rinadigan taniqli Kamonte birodarlarini ushlash uchun kuchlarini ayamaydi. Toni va politsiyaning film davomida haddan ziyod zo'ravonlik ishlatishi uni normal holatga keltiradi.[112] Toni Tommining qurolini ishlatishdan g'ayritabiiy quvonchiga parodiya elementi yotadi. Restoranda Shimoliy Sayd to'dasi odamlari Toni bilan Tommini otib tashlamoqchi bo'lgan sahnada u kuchdan zavq oladi. Rather than cowering beneath the tables, he tries to peek out to watch the guns in action, laughing maniacally from his excitement. He reacts jovially upon getting his first Tommy gun and enthusiastically leaves to, "write [his] name all over the town with it in big letters."[113]

The gangster's excessive consumption is comically represented through Tony's quest to obtain expensive goods and show them off. In Tony's first encounter with Poppy alone on the staircase, he boasts about his new suit, jewelry, and bullet-proof car. Poppy largely dismisses his advances calling his look, "kinda effeminate".[113] His feminine consumption and obsession with looks and clothes is juxtaposed by his masculine consumption which is represented by his new car. Later, Tony shows Poppy a stack of new shirts, claiming he will wear each shirt only once. His awkwardness and ignorance of his own exorbitance make this Getsbi style scene more comical than serious. His consumption serves to symbolize the disintegration of values of modernity, specifically represented by his poor taste and obsession with money and social status. Tony's excess transcends parody and becomes dangerous because he represents a complete lack of restraint which ultimately leads to his downfall.[114]

Tony's excess is manifested in the gang wars in the city. He is given express instruction to leave O'Hara, Gaffney, and the rest of the North Side gang alone. He disobeys because of his lust for more power, violence, and territory. Not only does he threaten the external power structure of the gangs in relation to physical territory, but he also disrupts the internal power structure of his own gang by blatantly disobeying his boss Johnny Lovo.[115] Gaffney's physical position juxtaposes Tony's position. Throughout the film, Gaffney's movement is restricted by both setting and implication, because of the crowded spaces in which he is shown onscreen and his troupe of henchmen he is constantly surrounded by. Tony is able to move freely at the beginning of the film, becoming progressively more crowded until he is as confined as Gaffney. He is surrounded by henchmen and cannot move as freely throughout the city. This, however, is self-imposed by his own excessive desire for territory and power.[115]

The theme of excessiveness is further exemplified by Tony's incestuous desires for his sister, Cesca, whom he attempts to control and restrict. Their mother acts as the voice of reason, but Tony does not listen to her, subjecting his family to the excess and violence he brings upon himself.[115] His lust for violence mirror's Cesca's lust for sexual freedom, symbolized by her seductive dance for Rinaldo at the club. Rinaldo is split between his loyalty for Tony and his passion for Cesca, serving as a symbol of the power struggle between the Camonte siblings. Rinaldo is a symbol of Tony's power and prominence; his murder signifies Tony's lack of control and downfall, which ends in Tony's own death.[116]

Amerika orzusi

Shuningdek qarang: Amerika orzusi

Camonte's rise to prominence and success is modeled after the American Dream, but more overtly violent. As the film follows the rise and fall of an Italian gangster, Tony becomes increasingly more Americanized. When Tony appears from under the towel at the barbershop, this is the first time the audience gets a look at his face. He appears foreign with a noticeable Italian accent, slicked hair and an almost Neanderthal appearance evident by the scars on his cheek.[74] As the movie progresses, he becomes more Americanized as he loses his accent and his suits change from gaudy to elegant.[74] By the end of the film, his accent is hardly noticeable. Upon the time of his death, he had accumulated many "objects" which portray the success suggested by the American Dream: his own secretary, a girlfriend of significant social status (more important even is she was the mistress of his old boss), as well as a fancy apartment, big cars, and nice clothes. Camonte exemplifies the idea of the American Dream that one can obtain success in America by following Camonte's own motto to, "Do it first, do it yourself, and keep on doin' it."[117] On the other hand, Camonte represents the American urge to reject modern life and society, in turn rejecting Americanism itself. The gangster strives for the same American Dream as anyone else, but through violence and illicit activity, approaches it in a way at odds with modern societal values.[118]

Gangster territory

Control of territory is a theme in the gangster film genre in a physical sense and on the movie screen. Tony works to control the city by getting rid of competing gangs and gaining physical control of the city, and he likewise gains control of the movie screen in his rise to power. This is most evident in scenes and interactions involving Tony, Johnny, and Poppy. In an early scene in the film, Tony comes to Johnny's apartment to receive his payment after killing Louie Costillo. Two rooms are visible in the shot: the main room, where Tony sits, and the room in the background where Poppy sits and where Johnny keeps his money. Lovo goes into the back room but Tony does not, so this room represents Johnny's power and territory. The men are sitting across from each other in the scene with Poppy sitting in the middle of them in the background representing the trophy they are both fighting for. However, they both appear equally in the shot, representing their equality of power. Later, in the nightclub scene, Tony sits himself in between Poppy and Johnny showing he is in control through his centrality in the shot. He has gained the most power and territory, as indicated by "winning" Poppy.[119]

Fear of technology

Yorliq represents the American fears and confusion that stemmed from the technological advancement of the time: whether technological advancement and mass production should be feared or celebrated. An overall anxiety post-World War I was whether new technology would cause ultimate destruction, or whether it would help make lives easier and bring happiness. In the film, Tony excitedly revels in the possibilities machine guns can bring by killing more people, more quickly, and from further away. This represents the question of whether mass production equals mass destruction or mass efficiency.[120]

Objects and gestures

The use of playful motifs throughout the film showcased Howard Hawks's qorong'u komediya he expressed through his directing.[77] In the bowling alley scene, where rival gang leader Tom Gaffney was murdered, when Gaffney throws the ball, the shot remains on the last standing bowling pin, which falls to represent the death of kingpin Tom Gaffney. In the same scene, before the death of Gaffney, a shot shows an "X" on the scoreboard, foreshadowing Gaffney's death.[121] Hawks used the "X" foreshadowing technique throughout the film (seen first in the opening credits) which were chiefly associated with death appearing many times (but not every scene) when a death is portrayed; the motif appears in numerous places, most prominently as Tony's "X" scar on his left cheek.[122] The motifs mock the life of the gangster.[77] The gangster's hat is a common theme throughout gangster films, specifically Yorliq, as representative of ko'zga tashlanadigan iste'mol.[123] Hawks included hand gestures, a common motif in his films. Yilda Yorliq, George Raft was instructed to repetitively flip a coin, which he does throughout the film.[124]

"Dunyo seniki"

Camonte's apartment looks out on a neon, flashing sign that says "The World Is Yours". This sign represents the modern American city as a place of opportunity and individualism. As attractive as the slogan is, the message is impossible, yet Tony doesn't understand this. The view from his apartment represents the rise of the gangster. When Camonte is killed in the street outside his building, the camera pans up to show the billboard, representative of the societal paradox of the existence of opportunity yet the inability to achieve it.[125] Ga binoan Robert Warshow, the ending scene represents how the world is not ours, but not his either. The death of the gangster momentarily releases us from the idea of the concept of success and the need to succeed.[126] In regards to the theme of excess, the sign is a metaphor for the dividing desires created by modernity seen through the lens of the excessive desires of the gangster persona.[116]

Uslub

"Sharp" and "hard-edged", Yorliq set the visual style for the gangster films of the 1930s.[127] Hawks created a violent, gripping film through his use of strong contrast of black and white in his cinematography, for example, dark rooms, silhouettes of bodies against drawn shades, and pools of carefully placed light. Much of the film is shown to take place at night. The tight grouping of subjects within the shot and stalking camera movement followed the course of action in the film.[74] The cinematography is dynamic and characterized by highly varied camera placement and mobile framing.[128]

Meros

Despite its lack of success at the box office, Yorliq was one of the most discussed films of 1932 due to its subject matter, and its struggle and triumph over censor boards.[110] Yorliq is cited (often with Kichkina Qaysar va Xalq dushmani) as the archetype of the gangster film genre, because it set the early standard for the genre which continues to appear in Hollywood.[129] Biroq, Yorliq was the last of the three big gangsters films of the early 1930s, as the outrage at the Pre-Code violence caused by the three films, particularly Yorliq, sparked the creation of the Production Code Administration in 1934.[130] Howard Hawks cited Yorliq as one of his favorite works and the film was a subject of pride for Howard Hughes. Hughes locked the film in his vaults a few years after release, refusing many profitable offers to distribute the film or to buy its rights. After his death in 1976, filmmakers were able to gain access to the rights to Yorliq which sparked the 1983 remake starring Al Pacino.[131] Though rare for a remake, the 1983 version was also critically acclaimed.[132]

Paul Muni's performance in Yorliq as "the quintessential gangster anti-hero" contributed greatly to his rapid ascent into his acclaimed film career.[133] Paul Muni received significant accolades for his performance as Tony Camonte. Critics praised Muni for his robust and fierce performance.[37] Al Pacino stated he was greatly inspired by Paul Muni and Muni influenced his own performance in the 1983 Yorliq qayta tuzish.[134] However, despite the impressive portrayal of a rising gangster, critics claim the character minimally resembled Al Capone. Unlike Camonte, Capone avoided grunt work and typically employed others to do his dirty work for him. Moreover, Muni's Scarface at the end revealed the Capone character to be a coward as he pled for mercy and tried to escape before getting shot in the street. Capone wasn't known for his cowardice and didn't die in battle.[135]

Yorliq was Ann Dvorak's best and most well-known film.[136] The film launched Raft's lengthy career as a leading man. Raft, in the film's second lead, had learned to flip a coin without looking at it, a trait of his character, and he made a strong impression in the comparatively sympathetic but colorful role. Howard Hawks told Raft to use this in the film to camouflage his lack of acting experience.[137] A reference is made in Raft's later role as gangster Spats Columbo in Ba'zilarga bu juda yoqadi (1959), wherein he asks a fellow gangster (who is flipping a coin) "Where did you pick up bu cheap trick?"[138]

Kino Yorliq may have had an influence on actual gangster life four years after the film was released. 1936 yilda, Jek MakGurn who was thought to be responsible for the St. Valentine's Massacre depicted in the film, was murdered by rivals in a bowling alley.[139]

Italian-language versions

In October 1946, after World War II and the relations between Italy and the United States softened, Titanus, an Italian film production company was interested in translating Yorliq italyan tiliga. Initially, upon requesting approval from the Italian film office, the request was rejected due to censorship concerns of the portrayal of violence and crime throughout the film. There was no initial concern about the film's portrayal of Italians.[140] Titanus appealed to the Italian film office calling Yorliq, "one of the most solid and constructive motion pictures ever produced overseas".[141] They lobbied to bring in a foreign language film to help domestic film producers save money in the Italian economy damaged by the recent war. After receiving approval at the end of 1946, Titanus translated a script for dubbing the film.[141] One difference in the Italian script is the names of the characters were changed from Italian sounding to more American sounding. For example, Tony Camonte was changed to Tony Kermont, and Guino Rinaldo was changed to Guido Reynold.[141] This and several other changes were made to conspicuously remove references to Italians. Another example is the difference in the scene in the restaurant with Tony and Johnny. In the American version, Tony makes a comical statement about the garlic in the pasta, whereas, in the Italian translation, the food in question is a duck liver pâté, a less overtly Italian reference to food.[142] Moreover, in the American version, the gangsters are referred to as illegal immigrants by the outraged community; however, in the Italian dubbed version, the citizen status of the criminals are not mentioned, merely the concern of repeat offenders.[143]

The film was redubbed into Italian in 1976 by the broadcasting company Radio Televisione Italiana (RAI). Franco Dal Cer translated the script and the dub was directed by Giulio Panicali. Pino Lokki dubbed the voice of Tony Camonte for Paul Muni and Pino Kolizzi dubbed the voice of Gunio Rinaldo for George Raft. A difference between the 1947 version and the 1976 version is that all of the Italian names are and Italian cultural references were untouched from the original American script.[144] The 1976 version celebrates the Italian backgrounds of the characters, adding noticeably different Italian dialects to specific characters.[145] This version of the dubbed film translates the opening and closing credit scenes as well as the newspaper clippings shown into Italian; however, the translation of the newspaper clippings was not done with particular aesthetic care.[146]

The film was redubbed in the 1990s and released on Universal's digital edition. According to scholarly consensus, the 1990 dub is a combination of re-voicing and reuse of audio from the 1976 redub.[147]

Tegishli filmlar

After the rights for Yorliq were obtained after the death of Howard Hughes, Brian de Palma released a filmni qayta tuzish in 1983 featuring Al Pacino as Scarface. The film was set in contemporary Miami and is known for its inclusion of graphic violence and obscene language, considered "as violent and obscene for the 1980s" as the original film was considered for 1930s cinema .[68][148] The 2003 DVD "Anniversary Edition" limited edition box set of the 1983 film included a copy of its 1932 counterpart. At the end of the 1983 film, a title reading "This film is dedicated to Howard Hawks and Ben Hecht" appears over the final shot.[149][150][151]

Universal announced in 2011 that the studio is developing a new version of Yorliq. The studio claims the new film is neither a sequel nor a remake, but will take elements from both the 1932 and the 1983 version,[152] including the basic premise of a man who becomes a kingpin in his quest for the Amerika orzusi.[153] In 2016, Universal announced Antuan Fuqua was in talks to direct the remake.[154] On February 10, 2017, Fuqua left the remake with the Coen birodarlar stsenariyni qayta yozish.[155] Universal later hired Devid Ayer to direct and contracted Diego Luna to star, but dismissed Ayer because his script was too violent.[156] In 2018, Fuqua was back on the project.[157]

Yorliq is often associated with other pre-code crime films released in the early 1930s such as Jahannamga kirish eshigi (1930), Kichkina Qaysar (1931) va Xalq dushmani (1931).[158] According to Fran Mason of the Vinchester universiteti, Yorliq is more similar to the film Rouling yigirmanchi yillari than its early 1930s gangster film contemporaries because of its excess.[159]

Adabiyotlar

  1. ^ "SARFIY (A) ". Britaniya filmlarini tasniflash kengashi. May 7, 1932. Arxivlandi asl nusxasidan 2015 yil 14 mayda. Olingan 13 may, 2015.
  2. ^ Balio, Tino (2009). Birlashgan rassomlar: Yulduzlar tomonidan qurilgan kompaniya. 1. Madison, Vis.: Viskonsin universiteti matbuoti. p. 111. ISBN  978-0-299-23004-3. OCLC  262883574.
  3. ^ Eagan 2010, p. 192.
  4. ^ Parish & Pitts 1976, p. 347.
  5. ^ Brown & Broeske 1996, p. 73; Barlett & Steele 1979, p. 73
  6. ^ Springhall 2004; Barlett & Steele 1979, p. 73
  7. ^ Pauly 1974, p. 261.
  8. ^ Springhall 2004
  9. ^ Dirks, Tom. "Scarface: The Shame of the Nation". Filmsite Movie Review. American Movie Classics Company. Olingan 15 may, 2018.
  10. ^ Mate, McGilligan & White 1983, p. 61; Smyth 2006, p. 77
  11. ^ Server 2002, 258–259 betlar.
  12. ^ Clarens 1980, p. 84; Thomas 1985, p. 70; Kogan, Rick (February 25, 2016). "Remembering Ben Hecht, the first Oscar winner for original screenplay". Chicago Tribune. Olingan 30 may, 2018.
  13. ^ a b v Hecht 1954, pp. 486–487.
  14. ^ "Scareface (1932)". Tyorner klassik filmlari. Atlanta: Turner Broadcasting System (Time Warner ). Arxivlandi asl nusxasidan 2017 yil 18 yanvarda. Olingan 11 yanvar, 2017.
  15. ^ Barlett & Steele 1979, p. 73.
  16. ^ Thomas 1985, 71-72-betlar.
  17. ^ a b Clarens 1980, p. 85.
  18. ^ Smyth 2004, p. 552; Thomas 1985, p. 71; Clarens 1980, p. 85
  19. ^ a b McCarty 1993, pp. 43, 67.
  20. ^ Roberts 2006 yil, p. 71.
  21. ^ Roberts 2006 yil, p. 77.
  22. ^ Smyth 2006, 75-77 betlar.
  23. ^ Smyth 2006, pp. 78, 380.
  24. ^ Makkarti 1997 yil, p. 132.
  25. ^ Bergreen 1994, p. 49.
  26. ^ Endryus, Evan. "7 Infamous Gangs of New York". History.com. A&E televizion tarmoqlari. Olingan 22 avgust, 2018.
  27. ^ Doherty 1999, p. 148
  28. ^ Langman & Finn 1995, pp. 227–228; "How Did Big Jim Colosimo Get Killed?". Milliy jinoyatchilik sindikati. Milliy jinoyatchilik sindikati. Olingan 24 may, 2018.
  29. ^ Clarens 1980, p. 86.
  30. ^ Langman & Finn 1995, pp. 227–228; O'Brayen, Jon. "The St. Valentine's Day Massacre". Chicago Tribune. Chicago Tribune. Olingan 24 may, 2018.; "Sevishganlar kuni qirg'ini". Tarix. A&E televizion tarmoqlari. Olingan 24 may, 2018.
  31. ^ Smyth 2004, p. 554.
  32. ^ MacAdams 1990, p. 128.
  33. ^ Makkarti 1997 yil, p. 132; Clarens 1980, p. 86
  34. ^ Yablonsky 1974, p. 64.
  35. ^ a b Guerif 1979, 48-52 betlar.
  36. ^ Thomas 1985, p. 72.
  37. ^ a b Thomas 1985, p. 74.
  38. ^ Bojarski & Beale 1974, 68-69 betlar.
  39. ^ Yablonsky 1974, p. 64; Rice 2013, p. 52
  40. ^ Vagg, Stiven (2020 yil 9-fevral). "Nega yulduzlar yulduz bo'lishdan to'xtaydi: Jorj Raft". Filmink.
  41. ^ Rice 2013, 52-53 betlar.
  42. ^ Rice 2013, pp. 3, 53.
  43. ^ Rice 2013, p. 53.
  44. ^ Rice 2013, p. 55.
  45. ^ Keating 2016, p. 107; Bookbinder 1985, 21-24 betlar
  46. ^ a b Thomas 1985, p. 75.
  47. ^ Clarens 1980, p. 87.
  48. ^ Rice 2013, 58-59 betlar.
  49. ^ Doherty 1999, 1-2-betlar.
  50. ^ "Howard Hawks' Scarface and the Hollywood Production Code". Theater, Film, and Video. PBS. Olingan 1 avgust, 2018.
  51. ^ Smit 2004 yil, p. 48.
  52. ^ Doherty 1999, pp. 1–2, 101; Qora 1994 yil, p. 52
  53. ^ Vieria 2003, p. 130.
  54. ^ a b Yogerst 2017, 134–144-betlar.
  55. ^ Yogerst 2017, pp. 134–144; Doherty 1999, p. 150
  56. ^ Doherty 1999, p. 150.
  57. ^ a b Qora 1994 yil, p. 126.
  58. ^ Qora 1994 yil, p. 111.
  59. ^ Thomas 1985, p. 75; Clarens 1980, p. 88
  60. ^ a b McCarty 1993, p. 68.
  61. ^ Smit 2004 yil, 43-44-betlar.
  62. ^ Smyth 2006, p. 80; Clarens 1980, p. 89
  63. ^ Hagemann 1984, 30-40 betlar.
  64. ^ Rice 2013, p. 59.
  65. ^ Thomas 1985, 75-bet; Smyth 2006, p. 80
  66. ^ "Scarface: The Shame of the Nation (1932)". www.filmsite.org. Arxivlandi asl nusxasidan 2017 yil 31 dekabrda. Olingan 22 iyun, 2018.; Smit 2004 yil, p. 44
  67. ^ a b Smyth 2004, p. 557.
  68. ^ a b Thomas 1985, p. 76
  69. ^ "Cinema: The New Pictures: Apr. 18, 1932". TIME. April 18, 1932. Arxivlandi asl nusxasidan 2011 yil 18 oktyabrda.
  70. ^ Slowik 2014, p. 229.
  71. ^ "SCARFACE (1932)". Kongress kutubxonasi. Olingan 3 avgust, 2018.
  72. ^ Mast 1982, p. 80
  73. ^ Scott, Bruce (September 9, 2011). "A Romantic Sensation: 'Lucia Di Lammermoor'". Milliy radio. Milliy jamoat radiosi, Inc. Olingan 6 mart, 2019.
  74. ^ a b v d Clarens 1980, p. 93.
  75. ^ Hagen & Wagner 2004, p. 52.
  76. ^ "Yomg'ir". Film Article. Tyorner klassik filmlari. Olingan 15 may, 2018.
  77. ^ a b v d Langman & Finn 1995, 227-228 betlar.
  78. ^ Ashbrook 1965, pp. 500–501; Grønstad 2003, 399-400 betlar
  79. ^ Qora 1994 yil, p. 130.
  80. ^ Qora 1994 yil, 130-131-betlar.
  81. ^ a b Springhall 2004, p. 139.
  82. ^ Qora 1994 yil, p. 131.
  83. ^ "Scarface (1932)". Universal Pictures uy o'yin-kulgisi. Universal Siti, Kaliforniya: Universal studiyalar. 2007 yil 27-may. Arxivlandi asl nusxasidan 2017 yil 13 yanvarda. Olingan 11 yanvar, 2017.
  84. ^ Yorliq, Universal Studios Home Entertainment, August 28, 2012, arxivlandi asl nusxasidan 2013 yil 28 fevralda, olingan 1 avgust, 2018
  85. ^ Smit 2004 yil, p. 45.
  86. ^ Smit 2004 yil, 44-45 betlar.
  87. ^ Yablonsky 1974, p. 76.
  88. ^ "Skarfiy". Turli xillik. 1932 yil 24-may. Olingan 14 iyun, 2018.
  89. ^ "The National Board of Review". Hollywood Reporter. 1933 yil 21-yanvar. Olingan 14 iyun, 2018.
  90. ^ a b Balio 2009 yil, p. 111.
  91. ^ Alicoate, Jack (April 14, 1932). ""Scarface"...a mistake". Kundalik film. Olingan 22 avgust, 2018.
  92. ^ Makkarti 1997 yil, p. 154.
  93. ^ Bookbinder 1985, 23-24 betlar; Bojarski & Beale 1974, p. 69
  94. ^ Bookbinder 1985, 23-24 betlar.
  95. ^ a b Vasey 1996, p. 218.
  96. ^ Keating 2016, p. 109.
  97. ^ Clarens 1980, p. 91.
  98. ^ "Irish Film Censors' Records". Irlandiya Film & TV Research Onlayn. Dublin, Ireland: Trinity College Dublin. Olingan 10-iyul, 2020.
  99. ^ Donaldson, Robert. "Shall the Movies Take Orders from the Underworld" (Aprel). Movie Classics. Olingan 14 iyun, 2018.
  100. ^ ""Scarface" Breaks Record on "Premiere"". Charles E. Lewis. Showmen's Trade Review. 1941 yil 29-noyabr. Olingan 14 iyun, 2018.
  101. ^ Brookes 2016, p. 27;Smit 2004 yil, 44-45 betlar
  102. ^ "Hughes Will Produce Sequel to 'Scarface'". Hollywood Reporter. 1933 yil 27-yanvar. Olingan 14 iyun, 2018.
  103. ^ "Scarface (1932)". Rotten Tomatoes. Fandango. Olingan 30 iyun, 2019.
  104. ^ "Milliy filmlar ro'yxatining to'liq ro'yxati". Kongress kutubxonasi. Kongress.gov. Olingan 15 may, 2018.
  105. ^ "AFI's 100 Years...100 Heroes and Villains" (PDF). Amerika kino instituti. Arxivlandi asl nusxasi (PDF) 2011 yil 7 avgustda. Olingan 13 iyul, 2015.
  106. ^ Godard 1972, p. 204.
  107. ^ "AFI ning eng yaxshi 10 taligi". Amerika kino instituti. 2008 yil 17 iyun. Arxivlandi asl nusxasidan 2013 yil 16 yanvarda. Olingan 18 iyun, 2008.
  108. ^ Smyth 2004, p. 535.
  109. ^ Smyth 2006, p. 76.
  110. ^ a b Smyth 2004, p. 558.
  111. ^ Meyson 2002 yil, p. 25.
  112. ^ Meyson 2002 yil, 25-26 betlar.
  113. ^ a b Meyson 2002 yil, p. 26.
  114. ^ Meyson 2002 yil, 26-27 betlar.
  115. ^ a b v Meyson 2002 yil, p. 27.
  116. ^ a b Meyson 2002 yil, p. 28.
  117. ^ Clarens 1980, p. 95.
  118. ^ Grieveson, Sonnet & Stanfield 2005, 1-2 bet.
  119. ^ Meyson 2002 yil, 23-24 betlar.
  120. ^ Benyahia 2012, p. 16.
  121. ^ Phillips 1999, p. 46;Langman & Finn 1995, 227-228 betlar
  122. ^ Smit 2004 yil, p. 40.
  123. ^ Grieveson, Sonnet & Stanfield 2005, p. 173.
  124. ^ McElhaney 2006, pp. 31–45; Neale 2016, p. 110
  125. ^ Benyahia 2012, p. 17.
  126. ^ Warshow 1954, p. 191.
  127. ^ Martin 1985, p. 35.
  128. ^ Danks 2016, p. 46.
  129. ^ Brookes 2016, p. 2; Hossent 1974, p. 14
  130. ^ Grønstad 2003, p. 387.
  131. ^ Thomas 1985, p. 76.
  132. ^ Gunter 2018, p. 171; Vaughn 2006, p. 111
  133. ^ Silver & Ursini 2007, p. 261;Thomas 1985, p. 74
  134. ^ Leight, Elias (April 20, 2018). "'Scarface' Reunion: 10 Things we Learned at Tribeca Film Festival Event". Rolling Stone. Rolling Stone. Olingan 25 may, 2018.
  135. ^ Hossent 1974, p. 21.
  136. ^ Rice 2013, p. 1.
  137. ^ Aaker 2013 yil, p. 24.
  138. ^ Corliss, Richard (2001). "That Old Feeling: Hot and Heavy". Time, Inc. Time. Olingan 15 may, 2018.
  139. ^ Fetherling 1977, p. 96; Wallace 2015
  140. ^ Keating 2016, p. 111.
  141. ^ a b v Keating 2016, p. 112.
  142. ^ Keating 2016, p. 113.
  143. ^ Keating 2016, 113-114 betlar.
  144. ^ Keating 2016, p. 115.
  145. ^ Keating 2016, p. 116.
  146. ^ Keating 2016, p. 117.
  147. ^ Keating 2016, 118-119-betlar.
  148. ^ "Scarface (1983)". Tyorner klassik filmlari. Atlanta: Turner Broadcasting System (Time Warner ). Arxivlandi asl nusxasidan 2017 yil 18 yanvarda. Olingan 11 yanvar, 2017.
  149. ^ AP (2018). "Al Pacino, Brian de Palma reflect on legacy of "Scarface" 35 years later". CBS Interactive Inc. CBS News. Olingan 15 may, 2018.
  150. ^ Chaney, Jen (2006). "'Scarface': Carrying Some Excess Baggage". Washington Post kompaniyasi. Vashington Post. Olingan 15 may, 2018.
  151. ^ Martin 1985, p. xii
  152. ^ "New 'Scarface' In Development At Universal". Huffington Post. Verizon Media. 2011 yil 21 sentyabr. Olingan 5 mart, 2019.
  153. ^ Freeman, Thomas (January 31, 2017). "'Scarface' Remake Casts its Tony Montana, 'Rogue One' Actor Diego Luna". Maksim. Maxim Media Inc. Olingan 5 mart, 2019.
  154. ^ Gracie, Bianca (February 26, 2018). "Looks Like Antoine Fuqua May Be Directing 'Scarface' After All". Kompleks. Kompleks Media Inc. Olingan 5 mart, 2019.
  155. ^ Kroll, Jastin (2017 yil 10-fevral). "Coen Brothers to Polish Script for 'Scarface' Reimaging". Turli xillik. Penske Media korporatsiyasi. Olingan 5 mart, 2019.
  156. ^ "Universal's 'Scarface' Reboot Loses Director David Ayer (Exclusive) | Hollywood Reporter". www.hollywoodreporter.com. Olingan 28 sentyabr, 2020.
  157. ^ Kroll, Justin (February 26, 2018). "Antoine Fuqua Back in Talks to Direct 'Scarface'". Turli xillik. Penske Media korporatsiyasi. Olingan 5 mart, 2019.
  158. ^ Smyth 2006, p. 59.
  159. ^ Meyson 2002 yil, p. 24.

Bibliografiya

Qo'shimcha o'qish

Tashqi havolalar