Production
The film was adapted by Ben Hecht, Seton I. Miller, John Lee Mahin, and W. R. Burnett from Armitage Trail's 1929 novel Scarface. Trail, whose real name was Maurice Coons, wrote for a number of detective-story magazines during the early 20s. At the age of 28, however, Trail, who struggled with morbid obesity throughout his life, died of a heart attack shortly before the release of the 1932 film.
The film is loosely based upon the life of Al Capone (whose nickname was "Scarface"). Capone was rumored to have liked the film so much that he owned a print of it. Ben Hecht also said that Capone's men came to visit him to make sure that the film was not based on Capone's life. When he said the film was fictitious, the two men working for Capone left Hecht alone. The introduction for the film's screening on Turner Classic Movies even stated that Hecht convinced the men to work as consultants for him.
The original script had Tony's mother loving her son unconditionally, accepts his lifestyle, and even accepts money and gifts from him. In addition, there was a politician who despite campaigning against gangsters on the podium, is shown partying with them after hours. The script ending had Tony staying in the building, unaffected by tear gas and a multitude of bullets fired at him. It is not until the building is on fire that Tony is forced to exit the building, guns blazing. He is sprayed with police gun fire but appears unfazed. Upon noticing the police officer who's been arresting him throughout the film, he fires at him, only to hear a single "click" noise implying that his gun is empty. He is then killed after being shot several times by said police officer. A repeated clicking noise is heard on the soundtrack implying that he was still attempting to fire while he was dying.
After repeated demands for a script rewrite from the Hays Office, Howard Hughes ordered Hawks to shoot the film, "Screw the Hays Office, make it as realistic, and grisly as possible." Hawks shot the film at three different locations: Metropolitan Studios, Harold Lloyd Studios and the Mayan Theater in Los Angeles. Shooting took three months with the cast and crew working seven days a week. Hawks decided to include an X symbol above each of Camonte's victims and offered each crew member a hundred dollars to think of a different way to depict the X for every murder.
Several accidents happened on the set. Comedian Harold Lloyd's brother Gaylord Lloyd lost an eye when he visited the set and was accidentally shot with live ammunition. George Raft also received a head injury during the death scene of his character when he accidentally hit the door frame while he was slumping to the floor.
The first version of the film (Version A) was completed on September 8, 1931, but censors would not allow its release until 1932, because of concerns that it glorified the gangster lifestyle and showed too much violence. Several scenes had to be edited, the subtitle "The Shame of the Nation" as well as a text introduction had to be added, and the ending had to be modified. However, this version still did not pass the New York censors, so Howard Hughes disowned this version and released a version as close as possible to the original version in the states that lacked strict censors and attempted to take the New York censors to court. Hughes also made an attempt to release the film under the title "The Scar" when the original title was disallowed by the Hays office.
Two other gangster films produced at about the same time were Little Caesar and The Public Enemy, both released in 1931.
Read more about this topic: Scarface (1932 film)
Famous quotes containing the word production:
“Just as modern mass production requires the standardization of commodities, so the social process requires standardization of man, and this standardization is called equality.”
—Erich Fromm (1900–1980)
“... if the production of any commodity necessitates the sacrifice of human life, society should do without that commodity, but it can not do without that life.”
—Emma Goldman (1869–1940)
“From the war of nature, from famine and death, the most exalted object which we are capable of conceiving, namely, the production of the higher animals, directly follows. There is grandeur in this view of life, with its several powers, having been breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.”
—Charles Darwin (1809–1882)