When Al Pacino Loses Himself in the Role
The best movies out there are those where the cast behaves as if it they are not in a movie, but a real thing. There are some movies that feel natural – like the plot is taking place right in front of your eyes – and when you start watching a movie like that, you just know it. This is thanks to the gel that bundles the different tissues that are formed by the actors, the script and the production crew. When these elements form a synergy the actors basically play one of their nuanced alter egos, making it seem as if the role had been scripted for the events taking place on the screen right then and there. So let’s take a look at Al Pacino, one of the best actors of all times, lose himself in the role that made couple of his movies one of the most famous that have ever come out of Hollywood.
Al Pacino in Scarface
Al Pacino is known for many of his roles, both on screen and on stage, however, one of the most memorable is his portrayal of Tony Montana in Scarface. Yes, Scarface. We know it is tacky to cite this as a good movie (it isn’t bad, it is just overly popular with the adolescent audience), but Pacino played the hell out of Toni Montana. Whenever Montana lost it, Al Pacino erupted with his own pent-up impressions of whatever thing makes him lose it. Screaming, shouting, shaking violently and shooting from pistols and automatic weapons while under the influence of the narcotics he is selling to powerful people. Tony Montana has anger, angst and passion which detonate under the pressure of the moments of danger and betrayal. Al Pacino really loses himself in this role, making Tony Montana a movie character who inspires young people to be and act tough, and perhaps more than that. But Tony Montana doesn’t go gambling on www.secretslots.com possibly because there wasn’t any online slots back then. So it is no small wonder that Tony Montana has been named the 27th Greatest Movie Character by Empire Magazine in 2008.
Al Pacino in Scent of a Woman
In Scent of a Woman Pacino plays Frank Slade, a blind army lieutenant who happens to enjoy responding impulsively to the sudden whims of resolve which occur as reactions to his own entanglements and relations with other people. Becoming immersed in the moral deliberations of certain events, Pacino, that is, Frank, goes off on a tangent a number of times and makes everybody around himself feel uncomfortable with the situation. This happens on numerous occasions, but the most memorable scene is when Frank unleashes an ardent speech in trying to defend Charlie in front of the faculty disciplinary committee. Frank raises eyebrows with Pacino being fully immersed in the role. Pacino won the Best Actor Academy Award and the film was nominated for a number awards. One line from his speech that strikes a sensitive cord, from among all other comparisons and character-building machinations of Frank, is the line “there is nothing like the sight of an amputated spirit – the is no prosthetic for that.”