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The Sting (1973)

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Two grifters team up to pull off the ultimate con.

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Top Rated Movies #98 | Won 7 Oscars. Another 11 wins & 6 nominations. See more awards »

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Cast

Cast overview, first billed only:
... Henry Gondorff
... Johnny Hooker
... Doyle Lonnegan
... Lt. Wm. Snyder
... J.J. Singleton
... Billie
... Kid Twist
John Heffernan ... Eddie Niles
... F.B.I. Agent Polk
... Erie Kid
... Loretta
... Luther Coleman (as Robertearl Jones)
... Mottola (as James J. Sloyan)
... Floyd - Bodyguard
Lee Paul ... Bodyguard
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Storyline

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 headlessannie

Plot Summary | Plot Synopsis

Taglines:

...all it takes is a little Confidence. See more »

Genres:

Comedy | Crime | Drama

Certificate:

PG | See all certifications »

Parents Guide:

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Details

Country:

Language:

Release Date:

25 December 1973 (USA)  »

Also Known As:

The Sting  »

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Box Office

Budget:

$5,500,000 (estimated)

Gross USA:

$159,600,000
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

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Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

First Universal Studios film to win the Best Picture Oscar since All Quiet on the Western Front (1930). See more »

Goofs

In the alley where Hooker, Luther and Erie Kid are playing a con on Mottola, and Hooker is "fighting" with Erie Kid while Mottola watches, Hooker grabs a wooden crate from a pile of garbage to fight off the Erie Kid. In the next shot, the box has changed significantly from a low, long dark box, to a white, shorter and steeper box. See more »

Quotes

Luther: How much did you lose?
Johnny Hooker: [winces] All of it.
Luther: In one damn night? What are you spraying money around like that for, you could've been nailed.
Johnny Hooker: I checked the place first. There were no dicks in there.
Luther: But you're a con man! And you blew it like a pimp!
See more »

Crazy Credits

The opening credits are animated like a storybook. See more »

Connections

Referenced in White Collar: Dentist of Detroit (2011) See more »

Soundtracks

Listen to the Mockingbird
(1855) (uncredited)
Music by Richard Milburn
Played at the carousel
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Frequently Asked Questions

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User Reviews

 
The Moral Order Restored
15 March 2004 | by See all my reviews

Johnny Hooker and Luther Coleman are `grifters' or confidence tricksters in 1930s Chicago. Unknown to them, however, one of their victims works for a vicious local gangster named Doyle Lonnegan, and when Lonnegan finds out what has happened he has Luther murdered. Hooker is not a violent man by nature and admits that he does not know much about killing, but nevertheless wishes to take revenge for his partner's death. He decides that the best way is to hurt Lonnegan's pride by relieving him of some of his wealth. He joins forces with another con man named Henry Gondorff, and together they come up with an elaborate plan, not only to cheat Lonnegan, but also to do it in such a way that he never realises that he has been cheated. The plot unfolds with great ingenuity; until the final denouement the audience are never quite sure which developments are for real and which are part of the elaborate scheme.

Crime thrillers set during this period are normally associated with the classic `film noir' style, with its dark, brooding, cynical atmosphere. In `The Sting', however, George Roy Hill deliberately sets out to create a very different mood. The style is almost the exact opposite of film noir. The acting is heavily stylised (as is the scenery), and the division of the film into sections with titles such as `The Hook' or `The Line' is reminiscent of the formal division of a stage play into acts and scenes. The film is not in black-and-white but in bright colour, and the mood, far from being heavy and brooding, is light and cheerful. Scott Joplin's music, although written slightly earlier than the period in which the film is set, fits this mood perfectly. The major actors all play their parts perfectly- Robert Shaw as the glowering, menacing Lonnegan, Robert Redford as the young, idealistic Hooker (insofar as a con-man can be said to be an idealist), and Paul Newman as the older, more experienced and laid-back Gondorff. There are also good contributions from Charles Durning as the corrupt policement Lieutenant Snyder and Robert Earl Jones as Luther.

Despite the cheerful mood, the film has serious undertones in keeping with its themes of revenge and murder. I am not usually a great admirer of what are known as `heist' or `caper' movies, as I feel that too often they glamourise crime and dishonesty. `The Sting', however, is different. Hooker and Gondorff live in a world where the moral order has broken down. The police are hopelessly corrupt- Snyder, the one representative we see of the forces of law and order, is on Lonnegan's payroll. There is no chance of Hooker getting justice for his friend's murder through the normal channels; the only way in which this can be achieved is to go outside the law. Where the police are crooked, only the criminals can execute justice. The emotional satisfaction we feel at the end of the film is because a sort of moral order has finally been restored and, moreover, because this has been done without anyone getting injured except Lonnegan's wallet. An excellent film, which well deserved its Academy Award. 9/10.


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