Scarface (1983) - The Art of Lighting

Brian DePalma’s 1983 re-imagining of the classic Scarface, starring Al Pacino and Michele Pfeiffer with screenplay by Oliver Stone (Internet Movie Database, 2014), artfully depicts the rise to and ultimate fall from power of Cuban refugee and future drug lord Tony Montana.  The film is gritty and violent, replete with dark themes and dramatic intent; it is prototypical of the gangster/crime drama genre.  While not entirely removed of it, DePalma’s Scarface, however, departs from the typical use of low-key lighting (Goodykoontz & Jacobs, 2011) in films of its kind.  With many of its scenes occurring outdoors, DePalma makes use of more natural lighting sources.  For the indoor scenes, the film aspires to a grittier feel relying on basic fill lighting, as can be seen in Tony’s initial conversations at his mother’s house (Clip 1).  We do get a sampling of the extreme darkness and shadow of low-key lighting at the very end when Tony and Gina leave the house; however, much of the scene is more natural in appearance, the contrast of the characters achieved more from the color of the kitchen walls than due to lighting.

Clip 1:

Many of the movie’s scenes presumably take advantage of natural light sources, being staged and filmed outdoors.  In a relatively early scene, following Tony and Manny’s successful entry into the drug business, the casual conversations and interactions between Tony, Manny, and several onlookers (as seen in Clip 2) show the natural feel of the outdoor scenes.

Clip 2:

Still, the movie is not entirely absent the more dramatic effect achieved by techniques like three-point lighting (Goodykoontz & Jacobs, 2011).  In most of these, the low-key effect of extreme shadows is maintained as if evident during Gina’s last minute entry into Tony’s office in attempt to avenge her new husband’s death at Tony’s hand (see Clip 3).  Note how distinctly Gina stands apart from the backdrop of Tony’s office.  Still, other moments achieve the effect in a more traditional application of three-point lighting, reducing the appearance of onscreen shadows while causing the actor to “pop” from the screen (Goodykoontz & Jacobs, 2011).  This can be seen very distinctly during Tony’s last stand (see Clip 4) and possibly one of the most iconic moments in this movie and throughout pop-culture as a whole.  Here we see Tony clearly against the very busy backdrop of his office with very little interference from the shadows.

Clip 3:

Clip 4:

DePalma makes art of the science of lighting and cinematography in this gritty drama.  His use of multiple lighting strategies capture both the realism of outdoor life as well as the drama and intensity of some of the film’s most climactic moments.  It is no surprise that this film stands strong among an elite list of movies of its kind.

Fin

References:

Goodykoontz, B., & Jacobs, C.P. (2011). Film: From Watching to Seeing. (Ashford University ed.). San Diego, CA: Bridgepoint Education, Inc.

Graspinbtch. (2011, December 9). Scarface – Tony’s Mother. Retrieved from https://www.youtube.com/watch?v=8op0_1equSQ

Internet Movie Database. (2014). Scarface. Retrieved from http://www.imdb.com/title/tt0086250/?ref_=nv_sr_1&licb=0.124921994516626

Movieclips.com. (2011, June 16). How to Pick-Up Chicks – Scarface (3/8) Moviei Clip (1983) HD. Retrieved from https://www.youtube.com/watch?v=TKpXTy-sCxg

Movieclips.com. (2011, June 16). Scarface (7/8) Movie Clip – Gina Shoots Tony (1983) HD. Retrieved from https://www.youtube.com/watch?v=-4GsCEopbd4

Movieclips.com. (2011, June 16). Say Hello to My Little Friend – Scarface (8/8) Movie CLIP (1983) HD. Retrieved from https://www.youtube.com/watch?v=a_z4IuxAqpE