The Sting 1973

The Film:

It's another film that I love and know well. Newman, Redford and Hill made two films together. I prefer the other one (Butch and Sundance) as I've said previously, but this is also fab!

It's no surprise that I'm a big fan of Paul Newman - I've been shoehorning pictures of him on this blog where ever I can since the 50s. He doesn't actually get his Oscar for a fair while yet, but he's finally in a Best Picture, so I'm going to make the most of it!

The film itself is one I first knew about because of its soundtrack, which I had on vinyl (and as a piano score!) when I was quite young. A particular guitar-version of Joplin's Maple Leaf Rag is an indelible part of my childhood memories and this soundtrack introduced me to more of his music. It's lovely stuff and is a fundamental part of the whole experience of watching this film. Which I am looking forward to doing for the first time in ages!

The Ceremony:

One of David Niven's coolest moments!

April 2nd at Dorothy Chandler Pavilion. Hosted by Burt Reynolds, Diana Ross, John Huston and David Niven.

David Niven was the one of these four presenters that secured his place in Oscar history that night, because of his suave, witty and totally unruffled response to a particularly memorable stage invasion.

One of the weirdest cultural phenomena of the 1970s was the "art" of streaking, which reached its peak in US colleges in 1974. Oscar had its own streaker - a photographer named Robert Opel - who ran behind David Niven making a peace sign. Niven's response was superb - "The only laugh that man will ever get in his life is by stripping off and showing his shortcomings"



Other Notable Winners That Night:

Butter wouldn't melt.

George Lucas got his first nominations this year, Glenda Jackson and Jack Lemmon both won their second Oscars and, other than The Sting (which won seven), the awards were fairly evenly distributed among a variety of films.

Best Supporting Actor went to 71 year old John Houseman for The Paper Chase. Best Supporting Actress went to Tatum O'Neill for Paper Moon - who was more than 60 years younger than Houseman. At ten years old, O'Neill is still the youngest ever winner of a competitive Oscar (yes, younger than Anna Paquin!) and, in my opinion, was a very worthy winner. I love Paper Moon and she is the best thing in it. What a shame she reached her peak aged 10....


Best Song:

It's Barbra singing the song that was everywhere that year (and for several years after). It became the go-to song for comedy performances and parodies of really bad singers right through to the eighties (it's the song Doris' mom makes her sing in the film of Fame). It's a Marvin Hamlisch classic, but it's not as good as Live And Let Die which would have got my vote that year! All together now....."Memries, in the corners of our minds....."

What We Could/Should Have Been Watching:

Don't go in there - they're cooking socks in hell!

My vote would have been with The Sting all the way, although there's an interesting mix of nominees this year, including very 70s comedy "A Touch of Class", very Ingmar Bergman "Cries and Whispers" and early George Lucas classic "American Graffiti".

I could possibly have gone for American Graffiti but, following on from the previously-banned theme of a couple of years ago, I'm giving this one to The Exorcist. Aside from it being Dr Kermode's favourite film (and one I have chatted personally with him about!) it is a very good film, a very cleverly made film (pre computer effects - that cold breath is there because they packed the room with ice!) and people still watch it, talk about it, write about it, make documentaries about it, parody it etc today.

Our Verdict:

The lovely Mr Newman

I make no apologies for making the most of the opportunity to share more pictures of one of our leading men here - he is very lovely to look at. He also does a great, understated, job here of keeping the film going and drawing the audience in - almost by under-acting and letting the story and the ensuing action just do its thing.

Although I prefer Butch and Sundance (just about), The Sting is a great film that - like its predecessor - benefits from being such a classy and clever period piece that it manages to throw in contemporary references to the time it was made whilst still being able to stand the test of time and hold up to viewings nearly five decades later.

This film is set in the 1930s and involves two con-men (younger Johnny Hooker and more experienced Henry Gondorff) setting up a long con aimed at bringing down a bigger criminal in revenge for the murder of Hooker's mentor (played by James Earl Jones' dad Robert!). The plot is detailed and, in parts, complicated - but it hooks the viewer in, which makes it an easy, accessible and satisfying watch. I can't say very much more without giving away far too many of the twists and turns....

Gratuitous Newman shot number two

There are three key things that make this film great. Firstly, the pairing of Newman and Redford is such a great one. Redford got a deserved Best Actor nomination in the slightly bigger part, but Newman is also clearly enjoying playing a character who could so easily have become far less sympathetic in less nuanced hands. The supporting cast are also great (including Eileen Brennan who will now forever be Jack's acting coach from Will and Grace in my mind!) but the whole thing is carried by the two superb leads.

I know, I know, but hey....

I'll let Redford get a look in as well!

The second key thing is the period look and feel of the film. It has been criticised for not being authentically mid-30s (as it apparently veers a good decade forward and back from there in its details). However, I don't think that matters. The overall effect is of something that is both of its time and also timeless. And it looks good. The suits, the cars, the hotel rooms, the train carriages, the cocktails. It's all a backdrop to the serious-but-not-too-serious tone of the story.

The third thing is - of course - the music. Scott Joplin was definitely not 1930s (he died in 1917) but his music is used to great effect throughout the film, setting the scene, highlighting tension, tenderness and comedy in all the right places. It made a big hit out of The Entertainer - and it introduced me to Joplin's music which I still love today. (The Maple Leaf Rag and Bethena - neither of which are on this soundtrack - have become big favourites!).

Various critics have questioned the choice of The Sting as a winner over its (arguably) more worthy fellow nominees. It's seen as being a populist choice, as it was a ridiculously big Box Office hit (particularly in Ireland, apparently, where some people went to see it every week for over a year....). However, I love it and I'm very glad that it won - if only so that the Newman/Redford/Hill trinity got the recognition it deserved.