A Quadrilha de Scarface

I used to love this series growing up. But as I got older I knew most of it was false. No way was Ness going around slapping gangsters, and talking down to them. Ness wanted to be important again, so he wrote this mostly fictional account. The IRS brought Capone down, not Ness. Read the true story. All in all this was light entertainment.

Could this one of those films (or TV shows or made-for-TV movies) that was intense and dramatic when you first watched it as a kid....but now looks tame and wasn't as good as you remembered? Or was this TV-movie simply not up to standards of the weekly show? Hopefully, the latter because I have fond memories of the show.

Growing up, I never missed an episode of the "The Untouchable" on TV and thought it was the greatest. I am still anxiously awaiting someone to put the show on DVD.

However, even though it was fun to see Robert Stack playing Elliot Ness once again; Neville Brand as the tough Al Capone and Barbara Nichols playing a dumb blonde, all of it was just didn't have the impact anymore....or at least in this movie.

The problem was that the story moved too slowly. You can't do that today, especially in crime movies. The only "crime" is having a film that drags.

"The Scarface Mob" is not a gangster film; that's what I claim puts it head and shoulders above all other anti-crime films. It's really about what motivates an Eliot Ness and what makes his sort of man different from the Al Capone's of this world. I have studied the era extensively; and those who called this "authentic-looking" Depression Era dramatized fiction have the case right; the direction by Phil Karlsen, as good as any director is at putting physical action on the screen, is very authentic. Nelson Riddle's jarring score and the great sets add much to the movie. Most of the acting, by stalwart Robert Stack, Keenan Wynn, Bruce Gordon and others is very good indeed. This is a story of the hardest sort to make-- a tale of an ethical man trying to bring down an evil one; it's the sort of story that many TV series have failed to carry off. In this feature-length film, scenes such as the harrowing setting of a wiretap in an alleyway by night, truckborne raids on breweries, a knife attack on Ness, nightclub scenes, Capone's return from serving a jail sentence to reestablish his rule over his cowed mobsters and many others are exceedingly memorable. The violence in the film is mostly honest, the camera-work and lighting amazing for a made-for-TV 1950's production. But the key to the film's extraordinary power is the keeping of context by Ness and his men--truly untouchable in a time when bribery was all-too-effective at corrupting many who had sworn to protect citizens from the Capones. It's hard to say enough nice things about such a memorable film experience.

As the world's biggest Untouchables fan it would pain me to write anything negative about this franchise. But this Pilot, at least the first part, though it does get a bit better, is pedestrian compared to the best episodes of the subsequent series, which of course we remember, forgetting the worst. First episode The Empty Chair a case in point. Of which the first few minutes even, are a step up in tempo.

Its funny that some of the original Untouchables such as Paul Dubov later sit on Frank Nitti's council and Peter Leeds is as a con in 3000 suspects!!. Eddie Firestone an Untouchable!!!! (sorry Eddie), and Paul Picerni does a complete about turn. The series has the benefit of the great music played during the episodes which this does not have. Which always adds great substance.

To me its ironic that the whole revolves around the prohibition of alcohol while most of the characters smoke like chimneys!!!

Bruce Gordon, Neville Brand, and Frank (F. Troop) de Kova are some of my all time favourites but for the first two in proper larger than life form watch the Big Train Parts 1 and 2 and Bruce and Frank in The Frank Nitti Story , Nick Acropolis etc.

Again a good watch but not a patch on the best of Series 1-3. but still way ahead of disappointing Season 4

Back in the good old days of television censorship, shows like THE UNTOUCHABLES were never allowed to be shown without first having passed the strict rules of censorship insisted upon by sponsors and ever-cautious studio executives. As history has shown us, eventually there was a backlash to such concerns. The end result? Well, such considerations are always subjective and many viewers today might wonder aloud how shows like THE SOPRANOS could ever have come to be in such an environment.

For better or for worse, things have changed. But those who might label shows like THE UNTOUCHABLES "naïve" had best be reminded that it took an awful lot of creativity to work around the limits of early television censorship to present programming as violent, hard-hitting and memorable as THE UNTOUCHABLES or, as we have it here: THE SCARFACE MOB.

THE SCARFACE MOB was the name of the two-part pilot for the Westinghouse Desilu Playhouse Anthology series on CBS. Desilu was the television production company created by Desi Arnaz and Lucille Ball. Together they were committed to the artistic growth as well as financial success of the medium. The same way they pushed the envelope in comedy with I LOVE LUCY no doubt inspired their attempts to do the same with drama. We'll never known the full extent of the battles that went on behind closed doors to finally get the green light from rival network ABC (after CBS passed) to go ahead with the weekly series of THE UNTOUCHABLES. Two factors must have come to mind in favour of producing the show. The series was based on fact and not too distant recent (though almost forgotten) history; and more importantly, each episode of THE UNTOUCHABLES ultimately represented a morality play with good triumphing over evil. Thus, with the inherent morality intact, THE SCARFACE MOB, with a lot of editing apparently, gave birth to the long-running popular program THE UNTOUCHABLES that proved over its four-season life span there was an audience for such violent fare-so long as the good guys won in the end.

Robert Stack (sounding like Gary Cooper's younger brother) stars as agent Eliot Ness, whose real-life exploits during Prohibition were largely forgotten by the time the series was made. Ness struggled financially and was almost penniless in his later years. He died in1957 of a heart attack at the mere age of 54 while working on his memoirs as a desperate means of generating some income. Stack was perfect for the part, though he was not first choice. That distinction went to Arnaz' friend, Van Johnson, whose agent made the fatal error of asking for too much money--$10,000 for each of the two-part episodes! Outraged, Arnaz withdrew the offer and called Stack, offering him the role. Stack accepted immediately and the rest is television history!

The real standout performance is Neville Brand as Al Capone, broad Italian accent and all. Combined with terrific atmosphere, a constant stream of bullets, beautiful women in '20s-era dresses and strongly delineated characters who are either black or white, good or bad, THE SCARFACE MOB sizzles with the promise of danger at every turn. Ambiguity and subtlety have no place in the world of THE SCARFACE MOB.