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Written by AJ Norman
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When I hear the word “sting,” it instantly activates traumatic childhood memories of angering bees and coping with the repercussions. Thankfully David Ward’s film The Sting, directed by George Roy Hill, is much more comfortable to endure. Johnny Hooker (played by Robert Redford) is an established con artist who cons his way to a surprisingly large chunk of dirty money. After scoring such a big grip of scrill and living the good life, it’s only natural that Hooker would be thirsty for more cabbage. He teams up with his old friend Henry Gondorff (played by Paul Newman) to attempt one of the loftiest cons of all time: a deceptive ploy involving horse races, gambling, crooked cops and late-night diners. Hooker and Gondorff try to cheat major Chicago crime boss Doyle Lonnegan (played by Robert Shaw) out of $500,000.
What strikes one as odd while watching The Sting is the extreme likeability of the main character, Johnny Hooker. Robert Redford does an outstanding job maintaining cool, calm, and controlled suave mannerisms. Even though the actions of his character are entirely illegal, we want to see him succeed with more cons because they are so thrilling and exciting to witness. When Hooker hooks up with Gondorff to pull off the giant con that spans the majority of the movie, I knew I was in for an Ocean’s 11-esque treat: a masterpiece of a crime flawlessly executed. And that’s exactly what I got! Good guys turn into bad guys, bad guys turn into good guys; they keep you guessing about the success of the crime until the very end of the film when it all comes together.
Robert Shaw also does a fantastic job illustrating Irish crime boss Doyle Lonnegan. His power is evident upon our first encounter with the character, where we see him directing the success of his Chicago-based business while practicing his short game at a golf course in Ireland. Shaw has an uncanny ability to sustain very serious, sinister gestures, especially noticeable in the poker playing scene on the train.
The camera-work and sound editing in this film are prime. Shot in 1973, it is made to look like a 30’s crime film crossed with a story book. George Roy Hill uses many vintage transitions between scenes, such as the wipe and the fade, to indulge us in the setting. He also sections off the major portions of the film with storybook-like title pages, which literally turn the page to the next chapter as the movie advances. The soundtrack has some very memorable tracks along with some atmospheric tunes. When Hooker is being chased down the street by the larger-than-average detective, a happy saloon-like number is playing, giving us an indication that this private eye is no threat to Hooker (at least on foot). Most of the other music in the film fits the mood so well that you hardly even notice any music playing at all.
In conclusion, The Sting has everything a crime film needs to be a winner and puts all those elements together beautifully. Every character is brilliantly portrayed with enough power and emotion to make you laugh, cry, and everything in between. You may want to try being a con artist yourself after watching Paul Newman and Robert Redford do it with such ease (not recommended)! A much more pleasant experience than any bee sting, The Sting will leave you beyond satisfied.
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