"Sweet Smell of Success", 1957 has some very strong and very disturbing performances by not just Lancaster and Curtis but lots of others. I think filming it in black and white adds a stark reality that color wouldn't do. This is 1957 and that world is far, far away from the one we live in today. But the lowness of human character that relishes seeing the downside of life makes this film tick. The one line "I'd hate to a bite out of you. You're a cookie filled with arsenic." is the summation of all the character flaws this film depends upon utilizing. I'm a Christian but these people would have been very much at home in Sodom and Gomorrah. You probably know someone like Hunsecker and Falco without having the means to make them into worthwhile people. Notice that this is film was released by United Artists but it is introduced with the MGM roaring lion. You can't depend on Hollywood to be honest.
It is amazing the number of different ways a great film can weave its alluring web and pull you into its story. Of my 100 favorite films, this one's journey into that rarefied status is unique, based on but a single viewing. I saw "Sweet Smell of Success" when I was too young to really grasp the subterranean motivations of the characters who so vividly populate the film. I did not understand, for instance, why this powerful, loathsome gossip columnist, Burt Lancaster's JJ Hunsecker, who so clearly despised Tony Curtis' Sidney Falco (press agent), nonetheless tolerated his presence. There was much that I DID appreciate--the brilliant and daring acting of the two leads, the beautifully oppressive cinematography, and the scintillating dialogue--but after that single viewing, the film slowly faded from my consciousness. Twenty-five or 30 years later, I decided to make a list of my favorite movies, and came across the title of this film. Apparently, memories of seeing this production had been roiling around my unconscious all this time and now, triggered by the little blurb in the Leonard Maltin book, these half-forgotten images came bounding back into mind, now concatenated with a quarter century of life and movie-going experience. Honing my list over the next few months, and considering this film's merits, I more and more began to realize what a truly marvelous work this was. This was a study nonpareil of two creatures wholly wrapped up in themselves and their ambition, yet bound together in a mutual parasitism (the term symbiosis sounds much too nice to describe their relationship). I understood, finally, why JJ tolerated Falco's presence. He NEEDED Falco. It wasn't just that Falco would occasionally offer up tidbits that he could use in his column. It wasn't that the fawning Falco could be manipulated into performing certain . . . uh, tasks that were too dirty for JJ to touch. No, as a ruthless power-monger, he needed the treacherous sycophant as a constant reminder and test of his superiority. Falco could be demeaned and ridiculed, but he also represented a danger, a challenge. Falco might seem a toady, but he was also a cobra waiting his chance to strike, and Hunsecker relished his role as sadistic snake charmer. Watching these two play at their oppressive games of perfidy, and dealing dirt, provide a fascinating character study perhaps the equal of the more famous examination of one Charles Foster Kane in an earlier film. There are many other characters in the movie, such as JJ's sister and her lover, and some are played with great aplomb, but they are all pawns in this disdainful dance between JJ and Falco, and it is their personalities that stay with you long after the lights come back on.
Everything about this movie is nearly perfect (some have criticized the film for the relatively weak portrayal of the two hapless lovers, but a stronger emphasis on these two would only detract from the real focus--JJ and Sidney) even to the choice of names. JJ Hunsecker and Sidney Falco seem perfect monikers, by themselves conjuring up images of loathsome characters. Unfortunately, for the team that put together this masterpiece of film-noir, "Sweet Smell of Success" was no success, and critics and movie-goers alike left the theaters convinced that the "smell" generated by the film was far from sweet. Amazingly, this film not only failed to garner an Oscar, it failed to receive a single solitary nomination--not for Alexander Mackendrick's direction (this abject failure truncating his promising career), not for the incisive, endlessly quotable screenplay (Ernest Lehman & Clifford Odets), not Elmer Bernstein's wonderful score, nor the tremendous performances of Curtis and Lancaster--not even James Wong Howe's gritty cinematography, beautifully capturing the seamier side of New York City. Fortunately, history has stepped in to provide a more accurate critique of this once ignored masterpiece. I can hardly wait to see it a second time.
Horrible Movie! All the actors were not their best. Everybody is selfish and controlling! Would NEVER watch again!
Surprisingly fresh and direct movie. Great dialogue and acting. As true today as it ever was.
Careful - plot spoiler in one of the comments below.
A powerful screenplay from Ernest Lehman based on gossip columnist Walter Winchell, packed with vitriolic dialogue. Interesting that's it's categorized as a film noir. Lancaster and Curtis were superb.
In today’s age of tabloid gossip and paparazzi muckraking Alexander Mackendrick’s darkly cynical look at the corrupting power of celebrity is perhaps more relevant now than it ever was. A contemporary tragedy of Shakespearian proportions, "Sweet Smell of Success" pits tyranny against naïve innocence in a world awash with noir archetypes, glittering neon, and garbage strewn streets. Its crisp B&W cinematography captures a cold and heartless city while a cruel script is rife with barbs and hidden knives. But ironically the film’s most piteous victim is Sidney Falco, an everyman whose hunger for fame and fortune have led him down a very dark path indeed. Watching him stare with a mixture of apathy and horror as the last pieces of his soul are devoured is truly chilling. An American masterpiece.
This is a 1957 American film noir/drama directed by Alexander Mackendrick.
The film tells the story of powerful newspaper columnist J.J. Hunsecker, who is portrayed by Lancaster and clearly based on Walter Winchell.
The columnist uses his connections to ruin his sister's relationship with a man he deems inappropriate.
Although this film is supposed to have greatly improved in stature over the years, I still think that it has little story.
Actually it makes me boring to hell.
J.J. Hunsecker (holding an unlit cigarette): "Match me, Sidney."
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