Fifty years after The Sting (1973) was originally released in theaters on Christmas Day, 1973, it still holds up remarkably well. Everything about this film, from the performances, George Roy Hill's tight yet ever-stylish direction, Marvin Hamlisch's wonderful arrangements of Scott Joplin's ragtime music, and memorable plot twists, thanks to screenwriter David S. Ward's immaculate script, work magnificently. This movie has continued to stand the test of time and remains a favorite of mine and my father's. Without further ado, here is my spoiler-filled review of The Sting. However, if you don't mind spoilers to an all-time classic, then feel free to continue reading.
The Sting follows two grifters, Johnny Hooker (played by Robert Redford) and Henry Gondorff (played by Paul Newman), who engage in a long and intricate "sting" operation involving the ruthless mob boss, Doyle Lonnegan (played by Robert Shaw). Through various twists and turns, the pair gamble with their opponents and their lives as they aim to pull off a scheme that, in retrospect, continues to impress years after its original theatrical release.
Starting with the film's two leads, Redford and Newman's performances are the highlight of this picture. Their natural charisma and shared chemistry, as was the case in their previous collaboration with director George Roy Hill, Butch Cassidy and the Sundance Kid (1969), are pitch-perfect. The two characters never outshine each other; rather, they complement each other's personalities splendidly with their respective combination of charm, wits, and style.
Shaw's Lonnegan is an equally memorable villain who is immediately menacing whenever he is onscreen with his cold-hearted glare, distinctive limp, and repeated catchphrase, "You follow?" Also, his high-stakes poker game with Gondorff onboard the New York Central Railroad's 20th Century Limited express train is exceptionally well-directed, well-edited, and well-acted, and perfectly highlights the tension building up between the two opponents, as well as each others' personalities; Lonngan is merciless and vengeful, while Gondorff is slick, cunning, and more than willing to get under his oppenent's skin.
Director George Roy Hill fires on all cylinders here, for he strikes a better balance between visual style (i.e., the period-correct use of title cards and masterful use of ragtime music) and storytelling compared to Butch Cassidy and the Sundance Kid. Not that Butch Cassidy was bad in any way, but The Sting is easily the superior of Hill's two collaborations with Redford and Newman, with a tighter narrative, better pacing, and more memorable dialogue, screenplay, and plot twists.
Speaking of which, the movie's famous plot twists, brought to life masterfully by David S. Ward, not only make the viewing experience all the more enjoyable, but the filmmakers' careful approach in treating the audience like adults and taking the time to answer all the audience's burning questions results in the film's emotionally satisfying ending and serves as a crucial learning tool for aspiring screenwriters. It also helps that the characters of Hooker and Gondorff are not only two or three steps ahead of the audience but also ahead of each other in terms of planning and strategy.
For instance, when Gondorff sends a hitman to protect Hooker from Shaw's hired assassin, Salino, the audience is thrown for not one, but two loops as the audience had assumed that the mysterious figure with black gloves watching Hooker and a diner waitress named Loretta (played by Dimitra Arliss) from the building across the street was Salino, only for the black-gloved hitman to reveal after Loretta has been shot dead between the eyes, that she was in fact, Salino. Also, the additional twist of having some accomplices of Hooker and Gondorff impersonate FBI agents to throw off not only Shaw's scent but the sleazy and corrupt police lieutenant William Snyder's (played by Charles Durning) was and is an ingenious move from the film's crew of conmen.
In conclusion, The Sting continues to enthrall viewers with its charismatic cast, outstanding script, excellent direction and use of style, lively score, and plot twists that age better as time goes by. I cannot think of another film from the 1970s that is about as enjoyable and well-made as this one. This is an absolute must-watch if you haven't seen this picture yet.
Final Score: 10 out of 10
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