The Sting

Screenwriter David S. Ward has said in an interviews that he was inspired to write The Sting while doing research on pickpockets, saying "Since I had never seen a film about a confidence man before, I said I gotta do this." Daniel Eagan explained: "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 a year for Ward to correctly adjust this aspect of the script and to figure out how much information he could hold back 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 after the "mark".[5]

Rob Cohen (later director of action films such as The Fast and the Furious) years later told of 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.[6]

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 David S. Ward, who resented the presumption of guilt implied by an out-of-court settlement done for business expediency.[7]

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

Ward originally wrote Henry Gondorff as a minor character who was an overweight, past-his-prime slob, but once Paul Newman became associated with the movie, Gondorff was rewritten as a slimmer character and his part was expanded in order to maximize the second partnership of Newman and Redford. Newman had been advised to avoid doing comedies because he didn't have the light touch, but accepted the part to prove that he could handle comedy just as well as drama.[8]

Jack Nicholson was offered the lead role but turned it down.[9]

Newman signed on the film after the producers agreed to give him top billing, $500,000 and a percentage of the profits. Newman needed a hit considering his last five films that he had made prior to The Sting had been box-office disappointments.[10]

In her 1991 autobiography You'll Never Eat Lunch in This Town Again, Julia Phillips stated that Hill wanted Richard Boone to play Doyle 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's book asserts that Shaw was not nominated for a Best Supporting Actor Academy Award because he demanded that his name follow those of Newman and Redford before the film's opening title.[11]

Shaw's character's limping in the film was authentic. Shaw had slipped on a wet handball court at the Beverly Hills Hotel a week before filming began and had injured the ligaments in his knee. He wore a leg brace during production which was hidden under the wide 1930s style trousers.[8]

Hill decided that the film would be reminiscent of movies from the 1930s and watched films from that decade for inspiration. While studying '30s gangster films, Hill noticed that most of them rarely had extras. "For instance," said Hill as quoted in Andrew Horton's 1984 book The Films of George Roy Hill, "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 colour 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 between 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 Santa Monica, California, and in Chicago at Union Station and the former LaSalle Street Station prior to its demolition.[14][15] Co-producer Tony Bill was an antique car buff who helped round up several period cars to use in The Sting. One of them was his own one-of-a-kind 1935 Pierce-Arrow, which served as Lonnegan's private car.

The film was a box-office smash in 1973 and early 1974, taking in over $160 million ($900 million today). As of August 2018, it is the 20th highest-grossing film in the United States adjusted for ticket price inflation.[16]

Roger Ebert gave the film a perfect four out of four stars and called it "one of the most stylish movies of the year."[17] 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."[18] 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."[19] 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."[20] 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."[21] 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 creeps cranking on, section after section, and it doesn't have a good spirit." She also noted that "the absence of women really is felt as a lack in this movie."[22] John Simon wrote that The Sting as a comedy-thriller "works endearingly without a hitch".[23]

In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". The Writers Guild of America ranked the screenplay #39 on its list of 101 Greatest Screenplays ever written.[24] On Rotten Tomatoes, The Sting holds a rating of 92% from 101 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."[25] On Metacritic, the film has a weighted average score of 83 out of 100, based on 17 critics, indicating "universal acclaim".[26]