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SCARFACE “In May 1980, Fidel Castro opened the harbor at Mariel, Cuba, with the apparent intention of letting some of his people join their relatives in the United States. Within seventy-two hours, 3,000 U.S. boats were headed for Cuba. It soon became evident that Castro was forcing the boat owners to carry back with them not only their relatives, but the dregs of his jails. Of the 125,000 refugees that landed in Florida, an estimated 25,000 had criminal records” (Scarface). With a superb script by Oliver Stone, masterful direction from Brian DePalma, a deliciously menacing score by Giorgio Moroder and an exceptional performance by Al Pacino, is any wonder the 1983 film, Scarface, has achieved such exposure. Al Pacino stars as the Cuban refugee, Tony Montana, whose intelligence, guts, and ambition help him skyrocket from dishwasher to the top of a criminal empire but whose eventual paranoia and incestuous desire for his kid sister (Mary Elizabeth Mastrantonio) prove his undoing. Scarface exceeds the boundaries of its genre and achieves the devastating feel of a Shakespearean tragedy. DePalma’s 1983 remake of the 1932 gangster picture Scarface (1932) transplanted the thirties premise to modern day Miami, with the