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>
According to costume designer Edith Head's biography, Robert Redford and Paul Newman, both of whom have blue eyes, wanted their shirts to be blue in order to emphasize their eyes. As a compromise, Head outfitted each man in blue in alternating scenes. Unfortunately, although it is an attractive story, it's a complete myth. A simple viewing of the film reveals the truth. Newman is never outfitted in blue in the whole film. He is first seen in a white vest in the brothel scenes. On the train he alternates between a brown striped shirt and a white one, which may or may not be a continuity error. From then until the end of the film, he is seen exclusively in a dinner jacket and white shirt. Redford wears a blue shirt on a couple of occasions, but even this doesn't really fit with this oddly persistent legend. See more »
Regarding the money that Hooker and Luther switch away from Motola. When Hooker goes to open the envelope in the alley, it is not sealed. It was sealed by Granger in the office before being given to Motola. 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.
34 of 62 people found this review helpful.
Was this review helpful to you?