Due to its scant runtime, 1932 ran into a lot of trouble in its pacing: cramming so many events into itself that it did it un-seamlessly. 1983 is nearly 80 minutes longer, therefore its crime-story epicism of a kingpin's rise and fall is actually developed; its dramatic and emotional beats are more pronounced. 1983 is still largely uber-dark melodramatic storytelling, but it's much more engaging than 1932.
I'm partially annoyed by the way respect, pussy, and cocaine seem to circle back into every conversation in the film, but perhaps someone in Tony's position would come to definite success in that way. The Miami aesthetic is incomparable. To me the standout is the cinematography. I love the uncut sequences that reinforce the building tension (i.e. Tony walking from his car up to the apartment to make the deal).
Highly stylized cinema piece that perfectly captures the atmosphere of sun bathed Miami of early 80s, disco scene and drug trafficking underground as an opposite to the glamorous lifestyle that latter provides. Al Pacino seems like he never fully left his role ever since. Story is shallow and banal, but overall, it offers repentance of main antihero's misanthropy and enough to secure a cult status that this film has.
No anti-hero hagiography here: instead a cartoonish, satiric hatchet-job on vulgarity and excess, edged in political comment (typical of Stone). By not hedging it’s bets from the outset this rises above similar studies in organised crime - Scorsese take note - into a glorious opera of squalidly grand gestures and posturing machismo, revealing the pathetic man beneath the glitter - this is no plucky immigrant story.
Al Pacino delivers a memorable role that easily could have gone totally over-the-top and become comedic but instead he feels dangerous and believable. The movie itself had an ensemble that at the time consisted of mostly unknown actors who delivered excellent work that made them famous and the story holds up well today even if some scenes scream of sensationalism.
Rewatch. Opinion is the same: If I'm supposed to take this seriously as a dramatic film, then the only two interesting elements here are  the incest taboo between Tony and Gina and  the character of Elvira. These two characters are the only ones who suggest an inner life, and are the closest this film gets to distinguishing itself from any other gangster film. Everyone else in this is a mindless, boring thug.
Boy, oh boy. The film is campy, but so was Miami (and the rest of the world) in the 80s. I loved all the suits, chest-hair and static hair-do's, not to mention Tony's mansion! The only thing cooler than the soundtrack by Giorgio Moroder was Pfeiffer's bitchy attitude and fierce style. A more colourful and caliente version of "The Gothfather", "Scarface" is equally long but I doesn't take itself too seriously.
Un film fort contesté, encore aujourd'hui, qui a rapidement acquis, pour certains, ses galons d'oeuvre culte. Les admirateurs de Brian de Palma retrouveront ici son habituelle griffe et la cohorte de citations auxquelles ils sont habitués. Les autres pourront s'irriter d'une mise en scène complaisante et emphatique. Il est autorisé de préférer l'inoubliable chef-d'oeuvre de Howard Hawks... www.cinefiches.com