Worse than the economic impact of the Depression were its psychological effects on the people: unemployment and hunger lead to moral depression, distrust, and the downfall of traditional legal norms. Consequently, criminality became a major problem which politicians did not seem to be able to stop. It was an open secret that gangsters such as Al Capone made a lot of money by trading with alcoholic beverages during Prohibition and gained a lot of political influence by this.
Chicago is commonly seen as the place where gangdom first developed. Its gangster image still clings to the city today. The most prominent events and people related to the gangs of Chicago were Al Capone and the ‘War of Sicilian Succession’ which resulted in the St Valentine’s Day Massacre, leaving seven gang leaders killed and Capone as the new czar of the underworld. For the public, the adventurous and fancy life of the gang world became the symbol for the new mass culture that evolved from urbanization. The stereotype of the new criminal helped to overcome the traditional social boundaries that seemed no longer apt for the urbanized society. The gangster-movie genre, along with the press reinforced the gangster myth. SCARFACE –SHAME OF THE NATION by Howard Hawks (1930/1932) fits in with this concept. However, the movie also shows the influence the press takes in the creation of the media gangster. For this reason, it gives an ambivalent picture of the gang world in the 1930s. So is it a critique or part of the gangster myth creation? How are the historical events depicted, and how much is the representation of the gangsters in the movie predisposed by the media image of the gangster?
In order to answer these questions, a short historical overview of Chicago’s ganglife at the turn of the 19th century is given and the development of the gangster myth and the role of class, ethnicity, and style is explained. The characteristics of the gangster movie in the 1930s are put into context with the analysis of Howard Hawks’ SCARFACE – SHAME OF THE NATION. The movie is furthermore analyzed with regard to the depiction of historical events, gangster iconography, and the role of the media.
Table of Contents
1. Introduction
2. The gangster in America’s urban history
3. The development of the gangster myth
3.1. Class distinctions and ethnicity
3.2. Dressed to kill
4. The American gangster-movie
5. SCARFACE – SHAME OF THE NATION
5.1. The depiction of historical events
5.2. Gangster iconography
5.3. The role of the media
6. Conclusion
Research Objectives and Topics
This academic paper examines the ambivalent representation of the gangster figure in Howard Hawks' 1930/1932 film "SCARFACE – SHAME OF THE NATION." It explores how the film simultaneously propagates the gangster myth through aestheticized portrayals of power and luxury, while attempting to critique the media's and society's role in the iconization of criminals, ultimately addressing the tension between the "American Dream" archetype and the moral mandate that "crime doesn't pay."
- The historical context of gang development in 1920s Chicago.
- The construction and evolution of the "gangster myth" in early American mass culture.
- The formal characteristics and moral framing of the 1930s gangster film genre.
- An analysis of historical depictions and media influence within "SCARFACE."
- The intersection of class, ethnicity, and consumerist status symbols as identity markers for the criminal.
Excerpt from the Book
3.2. Dressed to kill
When in 1930 the police found a headless, legless torso at the bottom of a canal in Chicago, they had no difficulties in labeling this torso because, as a journalist wrote: “Pin stripe tailoring, diamond stick pin and silk shirt proclaimed him a gangster and a gang victim (Ruth 63).“ Journalists repeatedely noted that gangsters were well dressed, and often gave very detailed descriptions of how the gangster looked and what they were wearing. An example of this is the description of the bootlegger Frankie Yale by a New York Times writer in 1928:
His new automobile, his tastefully furnished apartment, his diamond stickpin, his two diamond rings, his belt buckle ornamented with seventy-five brilliants, his fifty suits of clothes, his twenty-five pairs of shoes (Ruth 66).
Moreover, the gangster had other possessions that made him a model of consumption. He surrounded himself with a wealth of goods as the symbols of consumption -expensive suits, tuxedos, jewels, precious-metal cigarette cases and lighters - were depicted as the rewards of success. In addition, commercial amusements were central to the gangster image. Gangsters enjoyed a fashionable downtown nightlife, went to expensive restaurants, theaters, and cabarets.
Chapter Summaries
1. Introduction: The introduction establishes the connection between film and collective psychology during the Great Depression and outlines the paper's goal of analyzing the ambivalent nature of the gangster myth in Howard Hawks' "SCARFACE."
2. The gangster in America’s urban history: This chapter provides a historical overview of Chicago’s criminal underworld, highlighting the role of political corruption and the Prohibition era in the emergence of organized crime.
3. The development of the gangster myth: This section explains how the gangster became a symbol of modern mass culture and an archetype for the "invented criminal" through literature and film.
3.1. Class distinctions and ethnicity: This chapter discusses how the gangster persona allowed for an exploration of social mobility and the changing perception of ethnic minorities in America.
3.2. Dressed to kill: This chapter analyzes how consumption, luxury goods, and appearance served as essential identity markers that defined the success and status of the gangster.
4. The American gangster-movie: This chapter covers the rise of the gangster genre in the 1930s, the technical influences of the sound film, and the imposition of the moral principle that "crime doesn't pay."
5. SCARFACE – SHAME OF THE NATION: This chapter provides a plot-driven analysis of Hawks' film, focusing on its structure, thematic elements, and the character development of Tony Camonte.
5.1. The depiction of historical events: This section examines how the film aestheticizes real events, such as the St. Valentine’s Day Massacre, to fit the film's narrative goals.
5.2. Gangster iconography: This section looks at the use of static photography and chiaroscuro lighting to construct the neurotic and fascinating image of the protagonist.
5.3. The role of the media: This chapter critiques how the film portrays the press as a "wire puller" that distorts reality to create sensationalist headlines.
6. Conclusion: The conclusion synthesizes the paper's findings, arguing that "SCARFACE" remains an ambivalent work caught between myth-making and moral criticism.
Keywords
SCARFACE, Howard Hawks, Gangster mythology, Prohibition, Chicago, Organized crime, Film theory, Iconography, Mass culture, Consumerism, Great Depression, Media influence, American Dream, Moralization, St. Valentine’s Day Massacre.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper focuses on the cultural representation of the gangster in Howard Hawks' 1932 film "SCARFACE," specifically analyzing how the movie functions as both a creator and a critique of the gangster myth.
What central themes are explored throughout the work?
Key themes include the rise of organized crime in Chicago, the impact of the Prohibition era, the role of consumption and status symbols, and the moral framing imposed on early gangster films.
What is the core research question or objective?
The objective is to determine whether "SCARFACE" acts as a critique of the criminal underworld or if it inadvertently reinforces the glorification of the gangster as a tragic, American-dream-driven figure.
Which scientific or analytical methods does the author employ?
The author uses a film-analytical approach combined with historical contextualization, drawing on secondary literature (such as film sociology and cultural history) to interpret the film's scenes and motifs.
What subject matter is covered in the main body of the paper?
The main body treats the historical roots of Chicago's gangs, the evolution of the gangster archetype, the technical and moral characteristics of the 1930s genre, and a detailed sequence analysis of the film "SCARFACE."
Which keywords best characterize this work?
Key terms include "Gangster mythology," "Prohibition," "Iconography," "Media influence," "Consumerism," and "Moralization."
How does the author characterize the protagonist, Tony Camonte?
Camonte is described as a brutal, power-hungry individual whose character is deeply tied to his neuroticism and his obsessive pursuit of success symbols, while simultaneously being made "human" through his complex relationship with his sister.
What role does the media play according to the paper’s analysis of the film?
The paper argues that the film portrays the media as a manipulative force that exploits gang violence through sensationalism, ultimately questioning the responsibility of both the press and the government in addressing the gang threat.
What conclusion does the author reach regarding the "crime doesn't pay" motto?
The author concludes that while the film adheres to the Hays Commission's moral requirement that "crime doesn't pay," the narrative's irony and the stylish portrayal of the gangster create an ambivalent message that is not easily resolved.
- Quote paper
- Nadine Klemens (Author), 2003, Gangster mythology in Howard Hawks' "Scarface - Shame of the nation", Munich, GRIN Verlag, https://www.grin.com/document/51834
