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Sweet Smell of Success (1957)

Not Rated | | Drama, Film-Noir | 27 June 1957 (USA)
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Powerful but unethical Broadway columnist J.J. Hunsecker coerces unscrupulous press agent Sidney Falco into breaking up his sister's romance with a jazz musician.

Writers:

(screenplay), (screenplay) | 1 more credit »
Nominated for 1 BAFTA Film Award. Another 3 wins & 2 nominations. See more awards »

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Cast

Complete credited cast:
...
...
Susan Harrison ...
Susan Hunsecker
...
Steve Dallas (as Marty Milner)
Jeff Donnell ...
Sally
Sam Levene ...
Frank D' Angelo
Joe Frisco ...
Herbie Temple
...
Rita
Emile Meyer ...
Lt. Harry Kello
...
Mary
The Chico Hamilton Quintet ...
Themselves
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Storyline

J.J. Hunsecker, the most powerful newspaper columnist in New York, is determined to prevent his sister from marrying Steve Dallas, a jazz musician. He therefore covertly employs Sidney Falco, a sleazy and unscrupulous press agent, to break up the affair by any means possible. Written by David Levene <D.S.Levene@durham.ac.uk>

Plot Summary | Add Synopsis

Taglines:

They know him - and they shiver - the big names of Broadway, Hollywood and Capitol Hill. They know J.J.- the world-famed columnist whose gossip is gospel to sixty million readers! They know the venom that flickers in those eyes behind the glasses - and they fawn - like Sid Falco, the kid who wanted "in" so much, he'd sell out his own girl to stand up there with J.J., sucking in the sweet smell of success! This is J.J.'s story - but not the way he would have liked it told! See more »

Genres:

Drama | Film-Noir

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

27 June 1957 (USA)  »

Also Known As:

Dein Schicksal in meiner Hand  »

Box Office

Budget:

$2,600,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Writer Ernest Lehman wanted to direct but based on Burt Lancaster's failure as a first time director on The Kentuckian (1955), the producer went with veteran Alexander Mackendrick. See more »

Goofs

The look of Susan's hair changes noticeably during closeup scenes between her and J.J. as she is preparing to leave the apartment near the very end of the movie. There is a closeup of Susan near the door, then of J.J., then back to Susan. In that last closeup of her, both the volume and how her hair lies has changed so noticeably that the two shots must have been done at different times. See more »

Quotes

Susan Hunsecker: Who could love a man who makes you jump into hoops like a trained poodle?
See more »

Connections

Referenced in Matlock: The Critic (1991) See more »

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User Reviews

 
Brilliantly Oppressive Film-Noir
2 March 2005 | by (Topeka, KS) – See all my reviews

**MILD SPOILERS** It is amazing the number of different ways a great film can weave its alluring web and pull you into its story. Of my 100 favorite films, this one's journey into that rarefied status is unique, based on but a single viewing. I saw "Sweet Smell of Success" when I was too young to really grasp the subterranean motivations of the characters who so vividly populate the film. I did not understand, for instance, why this powerful, loathsome gossip columnist, Burt Lancaster's JJ Hunsecker, who so clearly despised Tony Curtis' Sidney Falco (press agent), nonetheless tolerated his presence. There was much that I DID appreciate--the brilliant and daring acting of the two leads, the beautifully oppressive cinematography, and the scintillating dialogue--but after that single viewing, the film slowly faded from my consciousness. Twenty-five or 30 years later, I decided to make a list of my favorite movies, and came across the title of this film. Apparently, memories of seeing this production had been roiling around my unconscious all this time and now, triggered by the little blurb in the Leonard Maltin book, these half-forgotten images came bounding back into mind, now concatenated with a quarter century of life and movie-going experience. Honing my list over the next few months, and considering this film's merits, I more and more began to realize what a truly marvelous work this was. This was a study nonpareil of two creatures wholly wrapped up in themselves and their ambition, yet bound together in a mutual parasitism (the term symbiosis sounds much too nice to describe their relationship). I understood, finally, why JJ tolerated Falco's presence. He NEEDED Falco. It wasn't just that Falco would occasionally offer up tidbits that he could use in his column. It wasn't that the fawning Falco could be manipulated into performing certain . . . uh, tasks that were too dirty for JJ to touch. No, as a ruthless power-monger, he needed the treacherous sycophant as a constant reminder and test of his superiority. Falco could be demeaned and ridiculed, but he also represented a danger, a challenge. Falco might seem a toady, but he was also a cobra waiting his chance to strike, and Hunsecker relished his role as sadistic snake charmer. Watching these two play at their oppressive games of perfidy, and dealing dirt, provide a fascinating character study perhaps the equal of the more famous examination of one Charles Foster Kane in an earlier film. There are many other characters in the movie, such as JJ's sister and her lover, and some are played with great aplomb, but they are all pawns in this disdainful dance between JJ and Falco, and it is their personalities that stay with you long after the lights come back on.

Everything about this movie seems to be nearly perfect (some have criticised the film for the relatively weak portrayal of the two hapless lovers, but a stronger emphasis on these two would only detract from the real focus--JJ and Sidney) even to the choice of names. JJ Hunsecker and Sidney Falco seem perfect monikers, by themselves conjuring up images of loathsome characters. Unfortunately, for the team that put together this masterpiece of film-noir, "Sweet Smell of Success" was no success, and critics and movie-goers alike left the theaters convinced that the "smell" generated by the film was far from sweet. Amazingly, this film not only failed to garner an Oscar, it failed to receive a single solitary nomination--not for Alexander Mackendrick's direction (this abject failure truncating his promising career), not for the incisive, endlessly quotable screenplay (Ernest Lehman & Clifford Odets), not Elmer Bernstein's wonderful score, nor the tremendous performances of Curtis and Lancaster--not even James Wong Howe's gritty cinematography, beautifully capturing the seamier side of New York City. Fortunately, history has stepped in to provide a more accurate critique of this once ignored masterpiece. I can hardly wait to see it a second time.


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