A miserable conman and his partner pose as Santa and his Little Helper to rob department stores on Christmas Eve. But they run into problems when the conman befriends a troubled kid, and the security boss discovers the plot.
Billy Bob Thornton,
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 <email@example.com>
David S. Ward got the idea for this movie when he was working on the script for Steelyard Blues, which includes a pickpocketing scene. Researching this, Ward found himself reading about con artists. Ward had shown the other screenplay to Tony Bill, so he now gave him an outline of this story. Bill liked it immediately and brought in Julia Phillips and Michael Phillips; the three then produced both films. Ward wrote the script with Robert Redford in mind as Hooker, but Redford initially turned the part down. Even after changing his mind, he didn't expect the movie to be a hit. Robert Shaw got the part of Lonnegan only after Richard Boone and another actor had declined it. George Roy Hill saw the screenplay by accident and asked for the director's job. He routinely showed his projects to Paul Newman, and Newman was pleased to join this one. Hill wanted to film the picture on location, but Henry Bumstead was adamant that it would be much too hard to get the period appearance right; for example, things like lane markings on the streets. In the end, the only location shooting was a few days' worth in Chicago and Los Angeles; most of the exteriors were filmed on Universal's back lot. See more »
The deck of cards Henry uses when showing Johnny his shuffling ability were the 1970s-style Bicycle brand cards that would not have been available in the 1930s. See more »
Dukey, if this thing blows up, the Feds will be the least of our problems
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The opening animated logo for Universal Pictures is in 1930s style, matching the movie's setting, instead of the 1970s version. See more »
A Lightweight, Clever Throwback to the Big Cons of the 1930's.
At first sight, THE STING appears to be nothing more than a television movie. It is entirely plot-driven with no real stand out characters or personalities. What makes the film work is excellent production design and a delightfully clever plot filled with many surprises. The movie is feather-weight emotionally, but the depth of the "con" and the way it is fashioned by screenwriter David Ward leaves you with a pleasant experience.
This is more Redford's film than Newman's, who reunite with George Roy Hill, director of BUTCH CASSIDY AND THE SUNDANCE KID. The legendary actors were more flesh and blood in that film, but here, they are merely players who carry the story along. With lesser actors, THE STING may have been a forgettable piece of work. Redford does all of the dirty work after Newman's initial "hook", but the omniscient presence of Newman, as big-time grifter "Henry Gondorff" exists throughout. A mysterious gloved character, a crooked cop, the FBI, and a seemingly bigger con-man "Doyle Lonnegan" (played by the late, great Robert Shaw) are some of the players who are involved in some events that seem to be manipulated by an unseen force. Is Newman as good as he claims in trying to clean out Shaw? We'll see.
The film is shot simply by Hill. No tricky angles or contrived camera movements are used. The action takes place simply in front of us. The production design by Henry Bumstead and James Payne recreates old-time Chicago through the use of built sets, matte paintings of a smaller sky-line, and some location shots. It gives the film an almost artificial look which is fitting considering it is a direct homage to the 1930's and the gangster pictures that so dominated that decade. The story is even furthered by title pages describing "the set-up, the hook, and the sting". They are turned like pages in a book, adding a drop of elegance to a crooked world. An iris is even employed in some scenes.
THE STING is definitely lightweight entertainment. It does not provoke much thought or insight into what is happening on screen. Fun is the word for this amusing little film that depicts a masterful plan for a big steal which would be impossible to pull off today. Look out for Ray Walston in a hilarious role announcing horse races and their results as they are "happening" just after receiving word of the "real" race results from a back room in the betting house. These are good con-men.
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