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 <email@example.com>
Robert Shaw injured his knee and incorporated the resulting limp into his performance. According to "You'll Never Eat Lunch in This Town Again" by Julia Phillips, Shaw split all the ligaments in his knee after slipping on a wet handball court at the Beverly Hills Hotel a week before filming started. He had to wear a leg brace during production which was kept hidden under the wide 1930s style trousers he wore. See more »
When Gondorff is sobered up, his hair, position and the state of his soaked pants change between shots. See more »
Looks like you're bringing up the rear, Granger.
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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 »
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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