आलोचक समीक्षाएं

Scarface is one of best of the early gangster movies; its wit and building velocity speeds it past Little Caesar and keeps pace with Public Enemy.

One of Hawks's undisputed masterpieces, and a landmark in the screen depiction of gangsters.

Its seminal importance in the early gangster movie cycle outweighed only by its still exhilarating brilliance, this Howard Hughes production was the one unflawed classic the tycoon was involved with.

Gangster classic. [21 Jan 2005, p.C6]

Scarface is by far the most visually inventive and tonally anarchic movie that Hawks made. Among other things, it’s a tribute to the freedom that independent producers afforded directors then—and still do today.

A dark, brutal, exhilaratingly violent film, blending comedy and horror in a manner that suggests Chico Marx let loose with a live machine gun.

Here's the third classic you'd better know if you're going to know anything about American gangster movies. This one is powered by Paul Muni's thinly disguised and daringly simian take on Al Capone. [01 Nov 1991, p.35]

Some of the humour is dated, but mostly it's astonishingly modern, full of unforgettable images. Muni is stunning and George Raft, who, like Sinatra, enjoyed the company of mobsters, gives an iconic performance: his cool, coin-tossing habit is referred to both in Singin' in the Rain and Some Like it Hot. [09 Apr 2006, p.18]

It is a stirring picture, efficiently directed and capably acted, but as was once said of The Covered Wagon, that it was all very well if you liked wagons, so this is an excellent diversion for those who like to take an afternoon or an evening off to study the activities of cowardly thugs.

Scarface contains more cruelty than any of its gangster picture predecessors, but there's a squarer for every killing. The blows are always softened by judicial preachments and sad endings for the sinners.