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Tony Curtis plays Sidney Falco, a two-bit New York press agent trying to reach for the big time. He's such a small time operator that his name is taped to his office door (which is also his apartment door). He makes promises he can't keep and ignores anyone who can't help him in stepping on others on his way to the top.
J.J. Hunsecker (Burt Lancaster) is the King of Gossip. His newspaper column is read by 60 million people a day. He is truly the master of all he surveys, making and breaking celebrities with the stroke of his typewriter. He can see right through you and cut you to pieces in the time it takes you to light his cigarette. Yet you light it anyway. That's how powerful he is.
Falco is little more than a minor annoyance to Hunsecker, until the day that Falco learns that Hunsecker's sister is engaged to a musician that Hunsecker hates. Falco sees his opportunity to get in good with Hunsecker by wrecking the musician's career. That's when the sparks start to fly and they never stop until the end of the film.
Ernest Lehman's script is sharp, biting, and relentless. Curtis has never been better. And Lancaster, who has had many great roles in his brilliant career, is perfection. `Sweet Smell of Success' is just as powerful today as it was in 1957. Tough, gritty, hard-hitting...without any four-letter words. Can anyone make `em like this anymore? Not hardly.
1 hour 36 minutes
If I had to pick one American studio movie that I felt was
unjustly forgotten in surprising relation to how entertaining and
timeless it was, there'd be no contest. `The Sweet Smell Of
Success' nearly always comes out of my mouth first when I'm asked
about my favorite movies.
Inevitably, I'm told rather pleasantly, "Never heard of it."
Try explaining to someone under forty that it stars Burt
Lancaster and Tony Curtis (two studio stars who don't penetrate
very far into contemporary consciousness) and that it concerns
newspaper columnists, and you're liable to receive a puzzled smile
in return. "That's one of your favorite films?"
By contemporary standards, on the surface, it just doesn't
appeal.
Trying to explain its excellence in five hundred words or so
isn't easy, but I'll try.
For starters, we like to think that our present day is as
wise and hip a period as has ever existed. Why, this is the age
of irony. We've been there, done that. We're tougher, more jaded,
more cynical, more smart-alecky that anybody else, right?
Wrong. The flick is sharper, more adult and more vicious
than ninety percent of the stuff being made today, fifty years later.
What's more, watch this movie and you'll quickly realize that
the smarter-than-smart, hipper-than-hip dialogue of today (like all
that light weight mush from Kevin Williams and the beating-around-the-bush
repetitions of Quentin Tarantino) is apple pie easy compared to having
to do it a) without pop culture references or cursing, b) in double
time, and c) with a perfectly balanced ear. The dialogue in this movie
is like jazz: it's syncopated, it's learned, it's clever, and it demands
more than one listen.
`The Sweet Smell Of Success' tops a short list of films from
roughly the same period (`The Asphalt Jungle' and `The Killing' are
two) that form a last hurrah for the black and white movie with bite.
Before things supposedly became so complicated in this world that
the movies forgot how to talk.
PEOPLE WHO'LL LIKE THIS MOVIE: classic Hollywood fans; hard-boiled
fans; incurable Manhattan enthusiasts (like myself).
PEOPLE WHO WON'T LIKE THIS MOVIE: it is in black and white, folks,
and Tony Curtis is in it.