A rewatching of Scarface (1983, directed by Brian De Palma) always allows you to indulge in the film’s exemplary costumes by Patricia Norris. In its bogus world of clashing colours and mix fabrics, drug lord Tony Montana (Al Pacino) is the model of gangster symbolism, while steely dame Elvira (Michelle Pfeiffer) has become a pin-up for the disco couture era; both characters are as psychologically screwed up as each other.
Tony arrives in Miami, Florida, 1980 as a refugee from Cuba. His Caribbean heritage and lack of cash is demonstrated by a fondness for loose fitting, short sleeve island shirts. These are so gaudy that during the infamous chainsaw sequence, Tony’s costume is heightened to bright orange with surfing and palms pattern just to retain his position as the focal point. Is it any wonder that as his status climbs, Tony progresses to white, cream and most unattractively, smudgy blue suits, often double breasted and unbuttoned with splayed collar shirts? As companion Manny (Steven Bauer) notes when they are still dishwashing for a living, watching the high rollers driven in fancy cars with conspicuous clothes, it is all about “pizzazz”; you must wear your money.
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