Montana

See a Chanel me buy fi me gyal and never gross.

See a bad pickney, a Montana like Tony.

She glad fi see me, a bag of dollars a no stone.

Let the bricka me count it up.

That is actually a surprisingly accurate way to describe the underlying philosophy here.

Because in the 1932 version, Tony Camonte looks at the bootlegging empires of Chicago, and in the 1983 version, Tony Montana looks at the cocaine empires of Miami.

Right.

And they both recognize this immense wealth sitting behind a wall of societal prohibition, so they just strip away the morality.

He does.

By dropping the story into this specific moment He completely shifts the ethnic character of the protagonist.

Tony Camonte, the Italian bootlegger of the '30s, becomes Tony Montana, the Cuban refugee of the '80s.

Okay, but I have a real question about this shift, though.

It's a pretty good analogy.

All right, we got Tony Montana or Tony Robbins.

Neither.

I don't know.

Robbins would be way too big for that car.

Oh, yeah.

And Montana, I'd be afraid to be racing.

Afraid to be up in front of him.