The Sting


The Sting is a 1973 American caper film. Set in 1936, it involves a complicated plot by two professional grifters to con a mob boss. The film was directed by George Roy Hill, who had directed Newman and Redford in Butch Cassidy and the Sundance Kid. 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 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.
Released on Christmas Day of 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 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. "Shaw" infuriates Lonnegan with his obnoxious behavior, then cheats him out of $15,000. 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", 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 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 Hooker 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". 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 amid cheers and laughter: "Polk" is actually Hickey, a fellow con man, who has been running a con on the con, with his "FBI agents" to divert Snyder and ensure that Lonnegan abandons 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.
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.
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.
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

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

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."
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.
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, in Southern California, and in Chicago at Union Station and the former LaSalle Street Station. 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.