Critical Analysis of Scarface As An Aristotelian Tragedy

The ideal plot should have one plot whose action extends over no more than a day or two and occurs in no more than one city and its surrounding countryside. This is the unity of time, place and action. The concentration of an action within a relatively small location and time period produced a stronger emotional response, according to Aristotle. The movie, Scarface, the plot doesn’t extend over a far too lengthy period of time, however; it is longer than two days. Nevertheless, eve

ryone asked about their emotions while watching the movie said it moved them.

Catharsis as mentioned earlier is a purgation of emotion. Pity is aroused for the hero as he meets his ultimate fate. We get scared because we think that we may meet a similar fate as the hero. These two emotions are purged in catharsis. We sympathize with the hero and his tragic circumstances, but we are not overcome with pity or fear for him. In Tony Montana’s case viewers interviewed said their emotion of hope for Tony was raised to a critical point then purged at his demise, “perfectly” cathartic. We learn a lesson from the story, the end of a cathartic experience.

Recognition is the discovery of someone’s identity or true nature, of one’s own identity or true character, and of the nature of the gods and the universe. The ideal climax, turning point, combines ironic reversal and discovery in a single action. In Scarface, Tony Montana true character is always apparent hence, Scarface is flawed in the sense of recognition.

For Aristotle, the most important element of tragic drama was the unique experience of catharsis, or the arousing of the emotions of pity and fear so as to

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