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.
Johnny Hooker, a small time grifter, unknowingly steals from Doyle Lonnegan, a big time crime boss, when he pulls a standard street con. Lonnegan demands satisfaction for the insult. After his partner, Luther, is killed, Hooker flees, and seeks the help of Henry Gondorff, one of Luther's contacts, who is a master of the long con. Hooker wants to use Gondorff's expertise to take Lonnegan for an enormous sum of money to even the score, since he admits he "doesn't know enough about killing to kill him." They devise a complicated scheme and amass a talented group of other con artists who want their share of the reparations. The stakes are high in this game, and our heroes must not only deal with Lonnegan's murderous tendencies, but also other side players who want a piece of the action. To win, Hooker and Gondorff will need all their skills...and a fair amount of confidence. Written by
Rob Cohen (later director of action films such as The Fast and the Furious (2001)) years later told of how he found the script in the slush pile when working as a reader for Mike Medavoy, a future studio head, but then an agent. He wrote in his coverage that it was "the great American screenplay and ... will make an award-winning, major-cast, major-director film." Medavoy said that he would try to sell it on that recommendation, promising to fire Cohen if he could not. Universal bought it that afternoon, and Cohen keeps the coverage framed on the wall of his office. See more »
When getting shot, Salino's right hand changes from being at the side in the long shot and reaching for the gun in the close-up. See more »
[losing his temper with Henry]
The name's Lonnegan! Doyle Lonnegan! You're gonna remember that name or you're gonna get yourself a new game! You follow?
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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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