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From Wikipedia, the free encyclopedia

For other uses, see The Sting (disambiguation).

The Sting
Theatrical release poster (alternate design)
Directed byGeorge Roy Hill
Written byDavid S. Ward
Produced byTony BillMichael PhillipsJulia Phillips
StarringPaul NewmanRobert RedfordRobert Shaw
CinematographyRobert Surtees
Edited byWilliam Reynolds
Music byMarvin Hamlisch
Production
companies		Universal PicturesThe Zanuck/Brown Company
Distributed byUniversal Pictures
Release dateDecember 25, 1973
Running time129 minutes
CountryUnited States
LanguageEnglish
Budget$5.5 million[1]
Box office$257 million

The Sting is a 1973 American caper film. Set in 1936, it involves a complicated plot by two professional grifters (Paul Newman and Robert Redford) to con a mob boss (Robert Shaw). The film was directed by George Roy Hill,[2] who had directed Newman and Redford in Butch Cassidy and the Sundance Kid (1969). The screenplay by David S. Ward was inspired by real-life cons perpetrated by brothers Fred and Charley Gondorff and documented by David Maurer in his 1940 book The Big Con: The Story of the Confidence Man.

The film plays out in sections introduced by old-fashioned title cards, drawn by artist Jaroslav “Jerry” Gebr in a style reminiscent of The Saturday Evening Post. It is noted for its use of ragtime, particularly the melody “The Entertainer” by Scott Joplin, which was adapted (along with other Joplin pieces) for the film by Marvin Hamlisch, producing a Billboard-topping soundtrack and a top-10 single. The film’s success created a resurgence of interest in Joplin’s work.[3]

Released on Christmas Day 1973, The Sting was a critical and commercial success and hugely successful at the 46th Academy Awards, where it won seven of its 10 Oscar nominations, including Best Picture, Best Director, Best Film Editing and Best Original Screenplay; Redford was also nominated for Best Actor. The film grossed $257 million worldwide and rekindled Newman’s career after a series of big-screen flops. Regarded by the Writers Guild of America as having one of the best screenplays ever written, The Sting was selected in 2005 for preservation in the U.S. National Film Registry of the Library of Congress as being “culturally, historically, or aesthetically significant”. A sequel film, also written by Ward, was released in 1983.

Plot

In September 1936, amid the Great Depression, grifter Johnny Hooker and his partners, Luther Coleman and Joe Erie, con $11,000 in cash from an unsuspecting victim in Joliet, Illinois. Hooker loses his share of the con on a rigged roulette game, while Luther, buoyed by the windfall, decides to retire. He tells Hooker to seek out his old friend, Henry Gondorff, in Chicago, to learn “the big con”. Corrupt Joliet police lieutenant William Snyder confronts Hooker, revealing that their mark was a courier for vicious Irish-American crime boss Doyle Lonnegan. Lonnegan’s men murder Luther and the courier. After finding Luther dead, Hooker flees to Chicago.

Hooker finds Gondorff drunk and in hiding from the FBI, running a carousel that is a front for a brothel, and asks for help taking down Lonnegan. Initially reluctant, Gondorff relents and recruits a team of experienced con men. They decide to resurrect an elaborate, obsolete scam known as “the wire”, using a large crew to create a phony off-track betting parlor. Snyder and Lonnegan’s men track Hooker to Chicago; Gondorff warns Hooker that if either of them finds him, the con will have to be called off.

Aboard the opulent 20th Century Limited Gondorff, posing as the boorish Chicago bookie “Shaw”, buys into Lonnegan’s private, high-stakes poker game, being facilitated by the train’s conductor, and in which Lonnegan is known to cheat. “Shaw” infuriates Lonnegan with his obnoxious behavior, then out-cheats him out of $15,000 ($348,022 in 2025), which Lonnegan is unable to pay because “Shaw” had previously had a pickpocket steal his wallet stuffed with cash. Hooker, posing as “Shaw’s” disgruntled employee “Kelly”, is sent to collect the winnings and convince Lonnegan to help him take over “Shaw’s” operation – a tactic Lonnegan has used repeatedly to build his crime empire. Hooker returns home to find Lonnegan’s men waiting to assassinate him, but he avoids their efforts. Their attempt spooks Gondorff, but Hooker convinces him to keep the con alive.

Lonnegan, frustrated with his men’s inability to kill Hooker for the Joliet con – and unaware that “Kelly” is Hooker – orders the job to be given to Salino, his best assassin. A mysterious figure, wearing black leather gloves, begins to follow and observe Hooker. Meanwhile, Snyder’s pursuit of Hooker attracts the attention of undercover FBI agents led by Agent Polk, who orders Snyder to bring Hooker in to entrap Gondorff.

“Kelly” gives Lonnegan a tip on a 7-to-1 long shot in a horse race that pays off. When Lonnegan presses him for details, he reveals that he has a partner, “Les Harmon” (actually con man Kid Twist), in the Chicago Western Union office, who will help them topple “Shaw” by winning bets he books on horse races through past-posting. Lonnegan is convinced after being provided the trifecta of another race, and agrees to finance a $500,000 bet ($11.6 million in 2025) to break “Shaw” and get revenge. Shortly thereafter, Snyder captures Hooker and brings him before Polk, who forces Hooker to betray Gondorff by threatening to jail Luther Coleman’s widow.

Feeling despondent the night before the sting, Hooker sleeps with a diner waitress named Loretta. The next morning, as she walks toward him in an alley, the black-gloved man appears and shoots her dead before she can shoot Hooker. The man reveals to him that Gondorff hired him to protect him, and that the waitress was, in fact, Salino.

After “Harmon” telephones directions to “Place it on Lucky Dan”, Lonnegan bets $500,000 at “Shaw’s” parlor on the horse named Lucky Dan to win. As the race begins, “Harmon” arrives and expresses shock at Lonnegan’s bet: when he said “place it”, he meant that the horse would “place” (i.e., finish second). In a panic, Lonnegan rushes to the teller window and demands his money back, at which point Polk, Snyder, and a half-dozen FBI agents storm the parlor. Polk tells Hooker he is free to go. Shocked at the betrayal, Gondorff shoots Hooker. Polk shoots Gondorff and orders Snyder to get the ostensibly respectable Lonnegan away from the crime scene.

With Lonnegan and Snyder safely away, Hooker and Gondorff rise (“bleeding” only from fake bullets) amid cheers and laughter. “Polk” is actually Hickey, a fellow con man, who has been running a con atop Gondorff’s with his “FBI agents” to divert Snyder and ensure that Lonnegan abandoned the money without ever realizing he was taken. As the con men strip the room of its contents, Hooker refuses his share of the money, claiming he would lose it anyway, and walks away with Gondorff.

Cast

Production

Writing

Screenwriter David S. Ward has said in an interview that he was inspired to write The Sting while researching pickpockets: “Since I had never seen a film about a confidence man before, I said I gotta do this.” Daniel Eagan said: “One key to plots about con men is that film goers want to feel they are in on the trick. They don’t have to know how a scheme works, and they don’t mind a twist or two, but it’s important for the story to feature clearly recognizable ‘good’ and ‘bad’ characters.” It took Ward a year to fine-tune this aspect of the script and to determine how much information he could withhold from the audience while still making the leads sympathetic. He also imagined an underground brotherhood of thieves who assemble for a big operation and then melt away afterward.[4]

Years later, director Rob Cohen recounted 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.[5]

Academic David Maurer sued for plagiarism, claiming the screenplay was based too heavily on his 1940 book The Big Con, about real-life tricksters Fred and Charley Gondorff. Universal settled out of court for $600,000, irking Ward, who resented the presumption of guilt implied by an out-of-court settlement done for business expediency.[6]

Writer/producer Roy Huggins maintained in his Archive of American Television interview that the first half of The Sting plagiarized the 1958 Maverick television series episode “Shady Deal at Sunny Acres“, starring James Garner and Jack Kelly.

Casting

Robert Redford during a break in shooting (1973)

Jack Nicholson was offered the lead role but declined it.[7] He later said “I had enough business acumen to know The Sting was going to be a huge hit, [but] at the same time Chinatown and The Last Detail were more interesting films to me.”[8]

Newman signed on to the film after the producers agreed to give him top billing, $500,000, and a percentage of the profits. His previous five films had been box-office disappointments.[9]

In her 1991 autobiography You’ll Never Eat Lunch in This Town Again, producer Julia Phillips writes that Hill wanted Richard Boone to play Lonnegan. Much to her relief, Newman had sent the script to Robert Shaw while shooting The Mackintosh Man in Ireland to ensure his participation in the film. Phillips’ book asserts that Shaw was not nominated for an Academy Award for Best Supporting Actor because he demanded that his name follow those of Newman and Redford before the film’s opening title.[10]

Shaw’s character’s limp in the film was authentic. Shaw had injured his leg while playing handball shortly before filming began. Director Hill encouraged him to incorporate the limp into his character rather than withdraw from the project.[11]

Principal photography

Hill wanted the film to be reminiscent of movies from the 1930s and drew inspiration from films of that decade. He noticed that most ’30s gangster films had no extras. “For instance”, Andrew Horton’s book The Films of George Roy Hill quotes Hill as saying, “no extras would be used in street scenes in those films: Jimmy Cagney would be shot down and die in an empty street. So I deliberately avoided using extras.”[12]

Along with art director Henry Bumstead and cinematographer Robert L. Surtees, Hill devised a color scheme of muted browns and maroons for the film and a lighting design that combined old-fashioned 1930s-style lighting with some modern tricks of the trade to get the visual look he wanted. Edith Head designed a wardrobe of snappy period costumes for the cast, and artist Jaroslav Gebr created inter-title cards to be used to introduce each section of the film that were reminiscent of the golden glow of old Saturday Evening Post illustrations, a popular publication of the 1930s.

Filming on location in Pasadena, California. Stand-ins are used to set up the shot.

The movie was filmed on the Universal Studios backlot, with a few small scenes shot in Wheeling, West Virginia, some scenes filmed at the Santa Monica pier’s carousel,[13] in Southern California, and in Chicago at Union Station and the former LaSalle Street Station.[14][15] An antique car buff, co-producer Tony Bill helped round up several period cars to use in The Sting. One of them was his own 1935 Pierce-Arrow limousine, which served as Lonnegan’s private car.

Reception

Box office

The film was a box-office smash in 1973 and early 1974, grossing $156 million in the United States and Canada.[16] As of August 2018, it was the 20th highest-grossing film in the United States adjusted for ticket price inflation.[17] Internationally, it grossed $101 million[18] for a worldwide gross of $257 million.

Critical response

Roger Ebert gave the film four out of four stars and called it “one of the most stylish movies of the year”.[19] Gene Siskel awarded three-and-a-half stars out of four, calling it “a movie movie that has obviously been made with loving care each and every step of the way.”[20] Vincent Canby of The New York Times wrote that the film was “so good-natured, so obviously aware of everything it’s up to, even its own picturesque frauds, that I opt to go along with it. One forgives its unrelenting efforts to charm, if only because The Sting itself is a kind of con game, devoid of the poetic aspirations that weighed down Butch Cassidy and the Sundance Kid.”[21] Variety wrote, “George Roy Hill’s outstanding direction of David S. Ward’s finely-crafted story of multiple deception and surprise ending will delight both mass and class audiences. Extremely handsome production values and a great supporting cast round out the virtues.”[22] Kevin Thomas of the Los Angeles Times called it “an unalloyed delight, the kind of pure entertainment film that’s all the more welcome for having become such a rarity.”[23] John Simon wrote that The Sting as a comedy-thriller “works endearingly without a hitch”.[24]

Pauline Kael of The New Yorker was less enthusiastic, writing that the film “is meant to be roguishly charming entertainment, and that’s how most of the audience takes it, but I found it visually claustrophobic, and totally mechanical. It keeps cranking on, section after section, and it doesn’t have a good spirit.”[25][26]

In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as “culturally, historically, or aesthetically significant”.[27] In 2006, the Writers Guild of America ranked the screenplay #39 on its list of 101 Greatest Screenplays ever written.[28] On Rotten Tomatoes, The Sting holds a rating of 93% from 109 reviews, with an average rating of 8.3/10. The site’s critical consensus reads: “Paul Newman, Robert Redford, and director George Roy Hill prove that charm, humor, and a few slick twists can add up to a great film.”[29] On Metacritic, the film has a weighted average score of 83 out of 100, based on 17 critics, indicating “universal acclaim”.[30]

Awards and nominations

AwardCategoryNominee(s)ResultRef.
Academy AwardsBest PictureTony Bill, Julia Phillips, Michael PhillipsWon[31]
[32]
Best DirectorGeorge Roy HillWon
Best ActorRobert RedfordNominated
Best Original ScreenplayDavid S. WardWon
Best Art DirectionHenry Bumstead, James W. PayneWon
Best CinematographyRobert SurteesNominated
Best Costume DesignEdith HeadWon
Best Film EditingWilliam ReynoldsWon
Best Scoring: Original Song Score and Adaptation or Scoring: AdaptationMarvin HamlischWon
Best SoundRonald Pierce, Robert R. BertrandNominated
American Cinema Editors AwardsBest Edited Feature FilmWilliam ReynoldsWon
David di Donatello AwardsBest Foreign ActorRobert RedfordWon[a]
Directors Guild of America AwardsOutstanding Directorial Achievement in Motion PicturesGeorge Roy HillWon[33]
Edgar Allan Poe AwardsBest Motion PictureDavid S. WardNominated
Golden Globe AwardsBest Screenplay – Motion PictureNominated[34]
Golden Screen AwardsWon
Kinema Junpo AwardsBest Foreign Language Film DirectorGeorge Roy HillWon
National Board of Review AwardsTop Ten FilmsWon[35]
Best FilmWon
National Film Preservation BoardNational Film RegistryInducted
Online Film & Television Association AwardsHall of Fame – Motion PictureHonored[36]
People’s Choice AwardsFavorite Motion PictureWon[37]
Producers Guild of America AwardsHall of Fame – Motion PicturesTony Bill, Julia Phillips, Michael PhillipsWon[38]
Writers Guild of America AwardsBest Drama – Written Directly for the ScreenDavid S. WardNominated[39]

Soundtrack

Further information: The Sting (soundtrack)

The Entertainer

Duration: 3 minutes and 54 seconds.3:54

A live performance of “The Entertainer“, by Scott Joplin

Problems playing this file? See media help.

The soundtrack album, executive produced by Gil Rodin, includes several of Scott Joplin‘s ragtime compositions, adapted by Marvin Hamlisch.

According to Joplin scholar Edward A. Berlin, ragtime experienced a revival in the 1970s due to several events: a best-selling recording of Joplin rags on the classical Nonesuch Records label, along with a collection of his music issued by the New York Public Library; the first full staging of Joplin’s opera Treemonisha; and a performance of period orchestrations of Joplin’s music by a student ensemble of the New England Conservatory of Music, led by Gunther Schuller. “Inspired by Schuller’s recording, [Hill] had Marvin Hamlisch score Joplin’s music for the film, thereby bringing Joplin to a mass, popular public.”[3]

Sequel and adaptations

The Sting II was released in 1983. It was directed by Jeremy Paul Kagan and starred Jackie Gleason, Mac Davis, Teri Garr, Karl Malden and Oliver Reed.

Mark Hollmann and Greg Kotis (music and lyrics), writer Bob Martin, and director John Rando created a stage musical version of the movie. The musical premiered at the Paper Mill Playhouse in Millburn, New Jersey on March 29, 2018. Henry Gondorff was played by Harry Connick Jr., with choreography by Warren Carlyle.[40] The stage musical incorporates Joplin’s music, including “The Entertainer”.[41]

Robert Weverka adapted the film into a full-length novel, The Sting (1974), based on the screenplay by David S. Ward.[42]

Home media

The movie was issued on DVD by Universal Studios Home Video in 1998. “If Paul Newman really does retire, he can spend his rocking chair years feeling smug about this,” enthused Bruno MacDonald for OK! “The story’s not the important thing: what makes it are the quirky soundtrack, the card-sharp dialogue and two superduperstars at their superduperstarriest.”[43]

A deluxe DVD – The Sting: Special Edition (part of the Universal Legacy Series) – was released in September 2005. Its “making of” featurette, The Art of the Sting, included interviews with the cast and crew.

The film was released on Blu-ray in 2012 as part of Universal’s 100th anniversary releases.

The Sting was released on Ultra HD Blu-ray on May 18, 2021.[44]

See also

References

  1.  “The Sting”. The Numbers. Archived from the original on November 1, 2013. Retrieved June 4, 2020.
  2.  “The Sting”. Turner Classic Movies Database. Archived from the original on October 2, 2017. Retrieved February 23, 2016.
  3.  Berlin, Edward A. (1996). “Scott Joplin”. Classical Net. Archived from the original on May 9, 2008. Retrieved September 8, 2012.
  4.  Eagan, Daniel (2009). America’s Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry. Bloomsberry. p. 700. ISBN 978-0-8264-2977-3. Retrieved April 13, 2022.
  5.  Lussier, Germaine (November 21, 2008). “Screenings: ‘The Sting’ as part of Paul Newman Retrospective”. Times-Herald Record. Middletown, NY. Archived from the original on December 24, 2008. Retrieved November 21, 2008.
  6.  Horowitz, Joy (March 15, 1992). “Hollywood Law: Whose Idea Is It, Anyway?”. The New York Times. Archived from the original on August 20, 2022. Retrieved August 20, 2022.
  7.  McGilligan, Patrick (November 9, 2015). Jack’s Life: A Biography of Jack Nicholson (Updated and Expanded). W. W. Norton. ISBN 978-0-3933-5097-5. Archived from the original on August 29, 2023. Retrieved October 19, 2021.
  8.  Chilton, Martin (December 27, 2023). “Paul Newman’s greatest trick: How the Sting took Hollywood for a ride”. The Telegraph. Archived from the original on December 27, 2023. Retrieved December 27, 2023.
  9.  J. Quirk, Lawrence (September 16, 2009). Paul Newman: A Life. Taylor Trade Publishing. pp. 212–215. ISBN 978-1-5897-9438-2.
  10.  Phillips, Julia (1991). You’ll Never Eat Lunch in this Town Again. Random House. p. 131. ISBN 978-0-3945-7574-2. Retrieved April 13, 2022.
  11.  “AFI Movie Club: THE STING”. American Film Institute. July 6, 2020. Archived from the original on March 27, 2023. Retrieved March 27, 2023.
  12.  Horton, Andrew (August 31, 2010). The Films of George Roy Hill (revised ed.). McFarland. p. 101. ISBN 978-0-7864-4684-1. Archived from the original on April 21, 2022. Retrieved April 13, 2022.
  13.  Blake, Lindsay (January 16, 2014). “Scene It Before: The Santa Monica Looff Hippodrome from ‘The Sting'”. Los Angeles. Archived from the original on August 14, 2017. Retrieved August 13, 2017.
  14.  “LaSalle Street Station”. Metra. Archived from the original on September 24, 2014. Retrieved July 10, 2014.
  15.  “Movies Filmed in Chicago”. City of Chicago. Archived from the original on July 14, 2014. Retrieved July 10, 2014.
  16.  “The Sting”. Box Office Mojo. Archived from the original on January 31, 2023. Retrieved December 31, 2023.
  17.  “All Time Box Office Adjusted for Ticket Price Inflation”. Box Office Mojo. Archived from the original on June 7, 2014. Retrieved May 19, 2011.
  18.  “Universal’s Foreign Champs”. Daily Variety. February 6, 1990. p. 122.
  19.  Ebert, Roger (December 27, 1973). “The Sting”. Chicago Sun-Times. Archived from the original on December 30, 2018. Retrieved November 26, 2018.
  20.  Siskel, Gene (December 28, 1973). “A return to the basics called care and skill”. Chicago Tribune. Section 2, p. 3.
  21.  Canby, Vincent (December 26, 1973). “Film:1930’s Confidence Men Are Heroes of ‘Sting'”. The New York Times. p. 60. Archived from the original on June 26, 2020. Retrieved June 25, 2020.
  22.  Murphy, A. D. (December 12, 1973). “The Sting”. Variety. Archived from the original on June 5, 2020. Retrieved June 25, 2020.
  23.  Thomas, Kevin (December 23, 1973). “‘The Sting ‘Reunites a Winning Combination”. Los Angeles Times. Calendar, p. 26.
  24.  Simon, John (1982). “Cops, Crooks, and Cryogenics”. Reverse Angle: A Decade of American films. Crown Publishers Inc. p. 134. ISBN 978-0-5175-4471-6.
  25.  Kael, Pauline (December 31, 1973). “The Current Cinema”. The New Yorker. pp. 49–50.
  26.  Kael, Pauline (1977). Reeling: Film Writings 1972-1975. London: Marion Boyars. pp. 244–245. ISBN 9780714525822.
  27.  “Complete National Film Registry Listing | Film Registry | National Film Preservation Board | Programs | Library of Congress”. Library of Congress, Washington, D.C. 20540 USA. Archived from the original on December 4, 2024. Retrieved January 2, 2026.
  28.  “101 Greatest Screenplays”. Writers Guild of America West. Archived from the original on August 13, 2006. Retrieved April 13, 2022.
  29.  “The Sting”. Rotten Tomatoes. Archived from the original on August 6, 2022. Retrieved June 22, 2026.
  30.  The Sting Reviews, Metacritic, archived from the original on July 6, 2022, retrieved June 18, 2022
  31.  “The 46th Academy Awards (1974) Nominees and Winners”. Oscars.org. Archived from the original on March 15, 2015. Retrieved December 31, 2011.
  32.  “The Sting”. Movies & TV Dept. The New York Times. March 20, 2009. Archived from the original on March 21, 2009. Retrieved December 29, 2008.
  33.  “26th DGA Awards”. Directors Guild of America Awards. Archived from the original on November 22, 2021. Retrieved July 5, 2021.
  34.  “The Sting – Golden Globes”. HFPA. Archived from the original on December 21, 2022. Retrieved June 3, 2021.
  35.  “1973 Award Winners”. National Board of Review. Archived from the original on July 24, 2021. Retrieved July 5, 2021.
  36.  “Film Hall of Fame Inductees: Productions”. Online Film & Television Association. Archived from the original on May 11, 2020. Retrieved August 15, 2021.
  37.  “1975 – 1st Annual People’s Choice Awards”. Archived from the original on April 18, 2016. Retrieved November 10, 2015.
  38.  Madigan, Nick (March 1, 1998). “PGA lauds Daly, Semel with its Golden Laurels”. Variety. Archived from the original on March 4, 2016. Retrieved September 22, 2017.
  39.  “Awards Winners”. Writers Guild of America. Retrieved June 6, 2010.
  40.  “The Sting”. newyorkcitytheatre.com. Archived from the original on October 26, 2017.
  41.  Clement, Olivia (February 13, 2018). “Harry Connick Jr. to Star in Broadway-Bound Musical ‘The Sting'”. Playbill. Archived from the original on February 15, 2018.
  42.  The Sting: Published 1974, Bantam Books (first published January 1, 1973) ISBN 0553082728
  43.  MacDonald, Bruno (May 19, 2000). “Film & Video: DVD sales releases”. OK!. No. 213.
  44.  “The Sting 4K Blu-ray”. Blu-ray News. March 10, 2021. Archived from the original on April 14, 2021. Retrieved April 14, 2021.
  1.  Tied with Al Pacino for Serpico.

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