The film plays out in distinct sections with old-fashioned title cards drawn by artist Jaroslav "Jerry" Gebr in a style reminiscent of the Saturday Evening Post. It is noted for its use of ragtime, particularly the melody "The Entertainer" by Scott Joplin, which was adapted (along with other Joplin pieces) for the film by Marvin Hamlisch (and a top-ten chart single for Hamlisch when released as a single from the film's soundtrack). The film's success created a resurgence of interest in Joplin's work.[4]
Released on Christmas of 1973, The Sting was a massive critical and commercial success and hugely successful at the 46th Academy Awards, nominated for ten Oscars and winning seven, including Best Picture, Best Director, Best Film Editing and Best Original Screenplay; Redford was also nominated for Best Actor. The film rekindled Newman's career after a series of big-screen flops. Regarded as having one of the best screenplays ever written, The Sting was selected in 2005 for preservation in the U.S. National Film Registry of the Library of Congress as being "culturally, historically, or aesthetically significant". A sequel film, also written by David S. Ward, was released in 1983.
Plot
In 1936, amid the Great Depression, grifter Johnny Hooker and his partners Luther Coleman and Joe Erie con $11,000 in cash from an unsuspecting victim in Joliet, Illinois. Hooker loses his share of the con on a rigged roulette game, while Luther, buoyed by the windfall, decides to retire. He tells Hooker to seek out his old friend Henry Gondorff in Chicago to learn "the big con". Corrupt Joliet police lieutenant William Snyder confronts Hooker, revealing that their mark was a courier for vicious Irish-American crime boss Doyle Lonnegan. Lonnegan's men murder Luther and the courier. After finding Luther dead, Hooker flees to Chicago.
Hooker finds Gondorff drunk and in hiding from the FBI, running a carousel that is a front for a brothel, and asks for help taking down Lonnegan. Initially reluctant, Gondorff relents and recruits a team of experienced con men. They decide to resurrect an elaborate, obsolete scam known as "the wire", using a large crew to create a phony off-track betting parlor. Snyder and Lonnegan's men track Hooker to Chicago; Gondorff warns Hooker that if either of them find him, the con will have to fold.
Aboard the opulent 20th Century Limited, Gondorff, posing as the boorish Chicago bookie "Shaw", buys into Lonnegan's private, high-stakes poker game, being facilitated by the train's conductor. "Shaw" infuriates Lonnegan with his obnoxious behavior, then cheats him out of $15,000 ($329,353 in 2023). Hooker, posing as "Shaw's" disgruntled employee "Kelly", is sent to collect the winnings and to convince Lonnegan to help him take over "Shaw's" operation. Hooker returns home to find Lonnegan's men waiting to assassinate him, but avoids their efforts; Gondorff is spooked by their attempt, but Hooker convinces him to keep the con alive.
Snyder's pursuit of Hooker attracts the attention of undercover FBI agents led by Agent Polk, who orders Snyder to bring Hooker in to entrap Gondorff. Meanwhile, Lonnegan, frustrated with his men's inability to kill Hooker for the Joliet con, orders the job to be given to Salino, his best assassin. A mysterious figure with black leather gloves begins following and observing Hooker.
"Kelly" gives Lonnegan a tip on a 7-to-1 long shot in a horse race that pays off. When Lonnegan presses him for details, he reveals that he has a partner, "Les Harmon" (actually con man Kid Twist), in the Chicago Western Union office, who will help them topple "Shaw" by winning bets he books on horse races through past-posting. Lonnegan is convinced after being provided the trifecta of another race, and agrees to finance a $500,000 bet ($11million in 2023) to break "Shaw" and get revenge. Shortly thereafter, Snyder captures Hooker and brings him before Polk, who forces Hooker to betray Gondorff by threatening to jail Luther Coleman's widow.
Feeling despondent the night before the sting, Hooker sleeps with a diner waitress named Loretta. The next morning, as she walks toward him in an alley, the black-gloved man appears and shoots her dead before she could shoot Hooker. The man reveals to Hooker that he was hired by Gondorff to protect him and that the waitress was in fact Salino.
At "Harmon's" direction, Lonnegan bets $500,000 at "Shaw's" parlor on a horse named Lucky Dan. As the race begins, "Harmon" arrives and expresses shock at Lonnegan's bet: when he said "place it" he meant that the horse would "place" (i.e., finish second). In a panic, Lonnegan rushes to the teller window and demands his money back, at which point Polk, Snyder, and a half-dozen FBI agents storm the parlor. Polk tells Hooker he is free to go. Shocked at the betrayal, Gondorff shoots Hooker. Polk shoots Gondorff and orders Snyder to get the ostensibly respectable Lonnegan away from the crime scene.
With Lonnegan and Snyder safely away, Hooker and Gondorff rise amid cheers and laughter: "Polk" is actually Hickey, a fellow con man, who has been running a con atop the con with his "FBI agents" to divert Snyder and ensure that Lonnegan abandons the money without ever realizing he was taken. As the con men strip the room of its contents, Hooker refuses his share of the money, claiming he would lose it anyway, and walks away with Gondorff.
Screenwriter David S. Ward has said in an interview that he was inspired to write The Sting while researching pickpockets: "Since I had never seen a film about a confidence man before, I said I gotta do this." Daniel Eagan said: "One key to plots about con men is that film goers want to feel they are in on the trick. They don't have to know how a scheme works, and they don't mind a twist or two, but it's important for the story to feature clearly recognizable 'good' and 'bad' characters." It took a year for Ward to fine-tune this aspect of the script and to figure out how much information he could keep from the audience while still making the leads sympathetic. He also imagined an underground brotherhood of thieves who assemble for a big operation and then melt away afterward.[5]
Years later, director Rob Cohen recounted how he found the script in the slush pile when working as a reader for Mike Medavoy, a future studio head, but then an agent. He wrote in his coverage that it was "the great American screenplay and… will make an award-winning, major-cast, major-director film." Medavoy said that he would try to sell it on that recommendation, promising to fire Cohen if he could not. Universal bought it that afternoon, and Cohen keeps the coverage framed on the wall of his office.[6]
Academic David Maurer sued for plagiarism, claiming the screenplay was based too heavily on his 1940 book The Big Con, about real-life tricksters Fred and Charley Gondorff. Universal settled out of court for $600,000, irking Ward, who resented the presumption of guilt implied by an out-of-court settlement done for business expediency.[7]
Jack Nicholson was offered the lead role but turned it down.[8] He later said "I had enough business acumen to know The Sting was going to be a huge hit, [but] at the same time Chinatown and The Last Detail were more interesting films to me."[9]
Newman signed on the film after the producers agreed to give him top billing, $500,000 and a percentage of the profits. His previous five films had been box-office disappointments.[10]
In her 1991 autobiography You'll Never Eat Lunch in This Town Again, producer Julia Phillips writes that Hill wanted Richard Boone to play Lonnegan. Much to her relief, Newman had sent the script to Robert Shaw while shooting The Mackintosh Man in Ireland to ensure his participation in the film. Phillips' book asserts that Shaw was not nominated for a Best Supporting Actor Academy Award because he demanded that his name follow those of Newman and Redford before the film's opening title.[11]
Shaw's character's limp in the film was authentic. Shaw had injured his leg while playing handball shortly before filming began. Director Hill encouraged him to incorporate the limp into his character rather than withdraw from the project.[12]
Principal photography
Hill wanted the film to be reminiscent of movies from the 1930s and watched films from that decade for inspiration. He noticed that most '30s gangster films had no extras. "For instance", Andrew Horton's book The Films of George Roy Hill quotes Hill as saying, "no extras would be used in street scenes in those films: Jimmy Cagney would be shot down and die in an empty street. So I deliberately avoided using extras."[13]
Along with art director Henry Bumstead and cinematographer Robert L. Surtees, Hill devised a color scheme of muted browns and maroons for the film and a lighting design that combined old-fashioned 1930s-style lighting with some modern tricks of the trade to get the visual look he wanted. Edith Head designed a wardrobe of snappy period costumes for the cast, and artist Jaroslav Gebr created inter-title cards to be used to introduce each section of the film that were reminiscent of the golden glow of old Saturday Evening Post illustrations, a popular publication of the 1930s.
Filming on location in Pasadena, California. Stand-ins are used to set up the shot.
The film was a box-office smash in 1973 and early 1974, grossing $156 million in the United States and Canada.[17]As of August 2018,[update] it is the 20th highest-grossing film in the United States adjusted for ticket price inflation.[18] Internationally, it grossed $101million[19] for a worldwide gross of $257million.
Critical response
Roger Ebert gave the film four out of four stars and called it "one of the most stylish movies of the year".[20]Gene Siskel awarded three-and-a-half stars out of four, calling it "a movie movie that has obviously been made with loving care each and every step of the way."[21]Vincent Canby of The New York Times wrote that the film was "so good-natured, so obviously aware of everything it's up to, even its own picturesque frauds, that I opt to go along with it. One forgives its unrelenting efforts to charm, if only because The Sting itself is a kind of con game, devoid of the poetic aspirations that weighed down Butch Cassidy and the Sundance Kid."[22]Variety wrote, "George Roy Hill's outstanding direction of David S. Ward's finely-crafted story of multiple deception and surprise ending will delight both mass and class audiences. Extremely handsome production values and a great supporting cast round out the virtues."[23]Kevin Thomas of the Los Angeles Times called it "an unalloyed delight, the kind of pure entertainment film that's all the more welcome for having become such a rarity."[24]John Simon wrote that The Sting as a comedy-thriller "works endearingly without a hitch".[25]
Pauline Kael of The New Yorker was less enthusiastic, writing that the film "is meant to be roguishly charming entertainment, and that's how most of the audience takes it, but I found it visually claustrophobic, and totally mechanical. It keeps cranking on, section after section, and it doesn't have a good spirit."[26]
In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as "culturally, historically, or aesthetically significant". The Writers Guild of America ranked the screenplay #39 on its list of 101 Greatest Screenplays ever written.[27] On Rotten Tomatoes, The Sting holds a rating of 92% from 101 reviews, with an average rating of 8.3/10. The site's critical consensus reads: "Paul Newman, Robert Redford, and director George Roy Hill prove that charm, humor, and a few slick twists can add up to a great film."[28] On Metacritic, the film has a weighted average score of 83 out of 100, based on 17 critics, indicating "universal acclaim".[29]
According to Joplin scholar Edward A. Berlin, ragtime experienced a revival in the 1970s due to several events: a best-selling recording of Joplin rags on the classical Nonesuch Records label, along with a collection of his music issued by the New York Public Library; the first full staging of Joplin's opera Treemonisha; and a performance of period orchestrations of Joplin's music by a student ensemble of the New England Conservatory of Music, led by Gunther Schuller. "Inspired by Schuller's recording, [Hill] had Marvin Hamlisch score Joplin's music for the film, thereby bringing Joplin to a mass, popular public."[4]
"Luther"–same basic tune as "Solace", adapted by Hamlisch as a dirge
"Pine Apple Rag" / "Gladiolus Rag" medley (Joplin)
"The Entertainer" (Joplin)–piano version
"The Glove" (Hamlisch)–a Jazz Age style number; only a short segment was used in the film
"Little Girl" (Madeline Hyde, Francis Henry)–heard only as a short instrumental segment over a car radio
"Pine Apple Rag" (Joplin)
"Merry-Go-Round Music" medley; "Listen to the Mocking Bird", "Darling Nellie Gray", "Turkey in the Straw" (traditional)–"Listen to the Mocking Bird" was the only portion of this track that was actually used in the film, along with a segment of "King Cotton", a Sousa march, a segment of "The Diplomat", another Sousa march, a segment of Sousa's Washington Post March, and a segment of "The Regimental Band", a Charles C. Sweeley march, all of which were not on the album. All six tunes were recorded from the Santa Monica Pier carousel's band organ.
The movie was issued on DVD by Universal Studios Home Video in 1998. "If Paul Newman really does retire, he can spend his rocking chair years feeling smug about this," enthused Bruno MacDonald for OK! "The story's not the important thing: what makes it are the quirky soundtrack, the card-sharp dialogue and two superduperstars at their superduperstarriest."[57]
A deluxe DVD – The Sting: Special Edition (part of the Universal Legacy Series) – was released in September 2005. Its "making of" featurette, The Art of the Sting, included interviews with cast and crew.
The film was released on Blu-ray in 2012 as part of Universal's 100th anniversary releases.
Ragtime, also spelled rag-time or rag time, is a musical style that had its peak from the 1890s to 1910s. Its cardinal trait is its syncopated or "ragged" rhythm. Ragtime was popularized during the early 20th century by composers such as Scott Joplin, James Scott, and Joseph Lamb. Ragtime pieces are typically composed for and performed on piano, though the genre has been adapted for a variety of instruments and styles.
Scott Joplin was an American composer and pianist. Dubbed the "King of Ragtime", he composed more than 40 ragtime pieces, one ragtime ballet, and two operas. One of his first and most popular pieces, the "Maple Leaf Rag", became the genre's first and most influential hit, later being recognized as the quintessential rag. Joplin considered ragtime to be a form of classical music meant to be played in concert halls and largely disdained the performance of ragtime as honky tonk music most common in saloons.
Charles Robert Redford Jr. is an American actor and filmmaker. He has received numerous accolades such as an Academy Award, a BAFTA Award, and two Golden Globe Awards, as well as the Cecil B. DeMille Award in 1994, the Screen Actors Guild Life Achievement Award in 1996, the Academy Honorary Award in 2002, the Kennedy Center Honors in 2005, the Presidential Medal of Freedom in 2016, and the Honorary César in 2019. He was named by Time as one of the 100 most influential people in the world in 2014.
Butch Cassidy and the Sundance Kid is a 1969 American Western buddy film directed by George Roy Hill and written by William Goldman. Based loosely on fact, the film tells the story of Wild West outlaws Robert LeRoy Parker, known as Butch Cassidy, and his partner Harry Longabaugh, the "Sundance Kid", who are on the run from a crack US posse after a string of train robberies. The pair and Sundance's lover, Etta Place, flee to Bolivia to escape the posse.
George Roy Hill was an American actor and film director.
Robert Archibald Shaw was an English actor and writer. Beginning his career in theatre, Shaw joined the Shakespeare Memorial Theatre after the Second World War and appeared in productions of Macbeth, Henry VIII, Cymbeline, and other Shakespeare plays. With the Old Vic company (1951–52), he continued primarily in Shakespearean roles. In 1959 he starred in a West End production of The Long and the Short and the Tall.
The Way We Were is a 1973 American romantic drama film directed by Sydney Pollack and starring Barbra Streisand and Robert Redford. Arthur Laurents adapted the screenplay from his own 1972 novel of the same name, which was based on his college days at Cornell University and his experiences with the House Un-American Activities Committee.
Marvin Frederick Hamlisch was an American composer and conductor. He is one of a handful of people to win Emmy, Grammy, Oscar and Tony awards, a feat dubbed the "EGOT". He and composer Richard Rodgers are the only people to have won those prizes and a Pulitzer Prize ("PEGOT").
"The Entertainer" is a 1902 classic piano rag written by Scott Joplin.
An entertainer is a person who entertains
The 46th Academy Awards were presented on Tuesday, April 2, 1974, at the Dorothy Chandler Pavilion in Los Angeles, California. The ceremonies were presided over by Burt Reynolds, Diana Ross, John Huston, and David Niven.
David Schad Ward is an American screenwriter and film director. He was nominated for two Academy Awards for his screenplays for the films The Sting (1973) and Sleepless in Seattle (1993), winning for the former. He was also nominated for a British Academy Film Award, a Golden Globe Award, and two Writers Guild of America Awards.
The Spy Who Loved Me is the soundtrack for the tenth James Bond The Spy Who Loved Me. The soundtrack is one of only two Bond soundtracks to be nominated for the Academy Award for Best Original Score. The other score nominated was Skyfall (2012).
Richard “Dick” Zimmerman is a ragtime performer, historian, author and producer. He is regarded as being one of the key figures responsible for the worldwide revival of ragtime. Zimmerman is the first pianist to have recorded the complete works of Scott Joplin and in 1987 was awarded the first place prize “Champion Ragtime Performer of the World”. Zimmerman was technical advisor for the film Scott Joplin. He is a founder of the "Maple Leaf Club", and is the editor of its publication, "The Rag Times". Zimmerman is also a professional magician. He has contributed many signature illusions to the field of magic and has acted as consultant for such magicians as David Copperfield.
Paul Lee Kroll, also known as Lee Paul, was an American film and television actor. He was perhaps best known for playing as the bodyguard of Doyle Lonnegan in the 1973 film The Sting, alongside actor Charles Dierkop who played the role of Floyd.
The Sting II is a 1983 American comedy film and a sequel to The Sting, again written by David S. Ward. It was directed by Jeremy Paul Kagan and stars Jackie Gleason, Mac Davis, Teri Garr, Karl Malden and Oliver Reed.
"The Ragtime Dance" is a piece of ragtime music by Scott Joplin, first published in 1902.
Jesse Stone: Death in Paradise is a 2006 American made-for-television crime film directed by Robert Harmon and starring Tom Selleck, Viola Davis, and Kohl Sudduth. Based on the 2001 novel Death in Paradise by Robert B. Parker, the film is about a small town police chief and struggling alcoholic who investigates the murder of a teenage girl whose body is found floating in a lake. The case brings the former LAPD homicide detective into the affluent world of a bestselling writer who exploits troubled teens, and the violent world of a Boston mobster. Filmed on location in Nova Scotia, the story is set in the fictitious town of Paradise, Massachusetts.
The Sting is a musical thriller with a book by Bob Martin and music and lyrics by Mark Hollmann, Greg Kotis, and Harry Connick Jr., based on the 1973 film The Sting.
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