After settling his differences with a Japanese PoW camp commander, a British colonel co-operates to oversee his men's construction of a railway bridge for their captors - while oblivious to a plan by the Allies to destroy it.
When a mutual friend is killed by a mob boss, two con men, one experienced and one young try to get even by pulling off the big con on the mob boss. The story unfolds with several twists and last minute alterations. Written by
John Vogel <firstname.lastname@example.org>
During filming Robert Redford was recovering from a broken right thumb sustained in a skiing accident a few months before, and was supposed to be wearing a cast. Numerous times in the film he uses his right hand oddly to avoid using the thumb, such as holding a fork with four fingers but not the thumb. See more »
The phone on Polk's desk is appropriate for the time, but it rings like a phone from the 1960s or later. See more »
[Figuring out which con to pull on Lonnegan]
I dunno know what to do with this guy, Henry. He's an Irishman who doesn't drink, doesn't smoke, and doesn't chase dames. He's a grand knight in the Knights of Columbus, and he only goes out to play faro. Sometimes plays 15 or 20 hours at a time, just him against the house.
He won't touch 'em. The croupier at Gilman's says he never plays anything he can't win.
Likes to be seen with fighters sometimes, but he doesn't go to the ...
[...] See more »
The opening animated logo for Universal Pictures is in 1930s style, matching the movie's setting, instead of the 1970s version. See more »
This film deserved every Oscar thrown at it. It looks good, it's funny, it's extremely complex but doesn't dwell on the fact for a moment: if you can spot the twists, you haven't got time to sit back smugly as they pop up - everything rushes on. The acting's good as is the story, one carrying the other. I can't think of a movie where people so obviously had as much fun - maybe (Soderbergh's) Ocean's Eleven, or even Some Like It Hot? The soundtrack is brilliant too, contemporaneous Joplin rags evoking the time and its contradictions artlessly.
The bit that raises this film the one notch higher though is a short, central sequence, in which the music plays as high profile a part as any character or narrative aside. It's the night before The Sting and Redford is drawn to the drugstore girl who's trying to leave town. Perfectly framed by the bittersweetest of the blues/rags he asks her out for a drink - revealing his vulnerability for the first time in a movie where everybody's pretending to be someone else: 'It's 2 o'clock in the morning and I don't know nobody.' Despite all the caper and thrill of grifting all he wants is what we all want. It's a rich, compassionate heart to a virtuosic piece of film-making. 9.5/10
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