Sweet Smell of Success (The Criterion Collection) [DVD]

There are films you admire because they’re profound as well as well-made: Vertigo, Persona, 2001. Some you admire for their sheer near-perfection. Two I cite for the latter quality are Dr. Strangelove and Sweet Smell.I won’t spend much time on the plot of Sweet Smell—I’ll refer you to the Wikipedia article, which is pretty good. Bottom-feeding press agent Sidney Falco wants attention from the most famous and feared of gossip columnists, J. J. Hunsecker. (The names evoke the characters.) Sidney will do anything, betray anybody, to climb the ladder—though there is a small but nagging mumur of conscience. J. J. has nothing but contempt for Sidney and his ilk, but he’s also dependent on them for his items. He has a younger sister, Susie, who lives with him in his penthouse. Their relationship may not be literally incestuous but is psychologically so. She has a boyfriend, a jazz musician, whom J. J. wants out of the picture. “You’re all I’ve got, Susie,” he says to her. It’s the only honest and human thing J. J. says in the movie. He wants Sidney to wreck the relationship and preferably the musician too. Sidney has qualms, but he beats them back. The rewards of serving J. J.’s corruption can be great. I’ll leave the plot at that.What I mean by near-perfection is the way the elements of the film work together. All the elements have earned boundless praise individually. Start with the script, begun by Ernest Lehman based on his own story, thoroughly reshaped and rewritten by Clifford Odets. The latter has been largely forgotten, but in his day he was celebrated as a lefty playwright whose immediate disciples included Rod Serling and Paddy Chayefsky. Odets’s plays of the 30s include Golden Boy. By the end of the decade he was in Hollywood, and he spent most of the rest of his life there, writing screenplays and drinking himself to death. His reputation as a socially conscious writer tanked when he sold out in the House Un-American Activities Committee hearings. Those contemptible events tended to ruin or derail both those who caved—Elia Kazan, Sterling Hayden—and those who didn’t—Paul Robeson, Orson Welles.Tony Curtis remembered Odets pounding at the typewriter with an open bottle of whiskey next to it. Some of the script was filmed hours after the lines were written. Director Alexander Mackendrick would lay out the pages on the floor, trying to make sense of them. Yet in the end it’s one of the greatest scripts ever to come out of Hollywood. It’s most famous for its zingers, legendary in themselves: “You’re dead, son. Get yourself buried.” “The cat’s in the bag and the bag’s in the river.” “Everybody knows Manny Davis—except for Mrs. Manny Davis.” “Here’s your head. What’s your hurry?” And above all: “I’d hate to take a bite outta you. You’re a cookie full of arsenic.” But the script is a great deal more than a collection of dazzling lines. Every one comes out of its character and amplifies that character. The story is beautifully shaped, with a rising line of tension and corruption that threatens to overwhelm everything in its path. In the end, everybody loses: Sydney beaten up by the police, J. J. losing his sister and only real human connection, his sister heading out to nowhere to see if she can find a life, and the prospects don’t look so good.The performances. Nobody at the time knew that certified big-boxoffice stars Tony Curtis and Burt Lancaster could actually act. Least of all that they could take on parts of repellent characters. The film flopped with audiences because they didn’t want to see their favorites covered in slime—though the reviews were prescient and glowing. Tony Curtis was at that point the leading pretty boy in movies, familiar in sword-and-sandal epics, romantic stuff, light comedy. He was felt to be limited by his dropdead looks and his Brooklyn accent. His line delivery in the cheesy historical Taras Bulba is notorious: “Yondah lies da castle of my faddah.”But Curtis had a lot in him, and with Sweet Smell he knew he had something meaty and wanted to show his stuff. He fought for the part. The fact is, in the relatively few roles Curtis got in movies with strong scripts and directors, he usually nailed it, whether in Sweet Smell or Some Like it Hot. His Sidney in Sweet Smell is astonishing, all burning eyes, kinetic energy, searing sarcasm and a brilliant gift for improvised manipulations and betrayals—though never brilliant enough to move him one rung up the ladder. Now and then, though, in his eyes in the most subtle way you see regret and the gnawing of conscience, though you know it won’t last. Curtis is onscreen most of the movie. In his eyes, his face, his voice, his body, he’s never less than exhilarating and horrifying to watch. It’s one of the great performances in all film, unsurpassed by a lot of the supposedly classier actors including, say, Olivier and Guiness.Lancaster is on the same level, in an opposite way. Here’s where the relationships and balances of the movie come in. Sidney is ablaze all the time, J. J. as cold and calm as a snake. He’s on top of the world and he knows it, expects it as his due. To insult me, he tells Sidney, is to insult sixty million people, my readers. (He’s based on the corrupt columnist Walter Winchell.) J. J.’s face is impassive, but his rage and revenge and corruption are revealed in little moments, little tics of eyes and lips. Curtis is over the top, Lancaster all subtlety, and that’s why they play off each other so well. Director Mackendrick had Lancaster wear his own heavy glasses, which look somehow threatening. But he smeared the lenses of the glasses with vaseline, so Lancaster could not focus on anything, and that contributed to his look of scary detachment. Often when J. J.’s talking to you, saying terrible things, he’s not looking at you.Director Alexander Mackendrick. I don’t know how he did it, because neither before or after did he do anything like it. This most echt-New York, echt-Broadway, echt-American movie was directed by a Scotchman, whose most celebrated film is the immortal Alec Guiness/Peter Sellers comedy The Ladykillers, among the most British of movies. Mackendrick managed to hold together a chaotic situation in which the script was being written day by day and some scenes were filmed without a script. Lancaster as producer was touchy, interfering. At the premiere Lancaster blamed the commercial failure on Lehman and threatened to beat him up for getting sick and leaving the production. (“Go ahead,” said Lehman. “I can use the money.”) In the end Mackendrick shaped a classic of clear arcs and gathering gloom, with a script like a stream of bullets.The cinematography is where it all comes together. It was done by James Wong Howe, who came from China and somehow by the 1930s had risen to the top of the profession in Hollywood. One of his Oscars was for Hud. He remains one of the greats of cinematographers, with Gregg Toland and a handful of others. Sweet Smell is usually called a film noir, but I don’t think it’s really part of that genre. It’s a one-off, a genre unto itself, though its influence has been enormous. Noirs are classically dark and grainy, like Double Indemnity and The Naked City. Sweet Smell has two lighting modes, both of them unforgettable, neither of them grainy and dark. Many of the scenes have a weird lucidity, crystalline in lighting, icy in effect. Some of the interiors look like they were shot in glaring fluorescent light. Somehow that look makes the darkness they depict more unnerving. The other lighting mode is used mostly for J. J.: he’s lit from the top, casting long chilling shadows down his face. I suspect this had a big influence on the top-lighting of The Godfather, among later movies.The music has two aspects too, both of them involving mid-50s jazz in its prime. The actual Chico Hamilton Quintet is in residence, providing cool jazz (the guitarist boyfriend is in the group). And there’s a blaring, hairy, brilliant big-band element by Elmer Bernstein, an old hand as Hollywood composer, best known for big scores like The Ten Commandments and The Magnificent Seven but also delicate ones like his work in To Kill a Mockingbird. Bernstein’s big-band stuff for Sweet Smell welds itself indelibly to the story and images and lighting: big, glaring, scary. It’s the ancestor of a lot of intense jazzy themes to come by among others Henry Mancini: Peter Gunn.Helping out are the secondary performances—some excellent, like Emile Meyer’s grinning, crooked cop and Barbara Nichols’ abused cigarette girl Rita--others at least good enough, such as Susan Harrison as the helpless Susie. (Her acting career didn’t go far after this.)The perfection is in how all these elements work together, amplify each other. You can’t imagine the film without any of them: story, script, acting, lighting, music are welded together in a seamless, brutally effective whole. It’s what all movies aspire to but few reach at this level. You come out of Sweet Smell of Success feeling like you’ve been dipped in slime, but no less exhilarated, partly by the inexhaustible energy of the whole thing (you end up feeling at least a little sorry for Sidney) and by the mastery of the filmmaking.

As described.

This film, barely distributed upon release (it's a thinly veiled barb directed at the Walter Winchells of the world), features what is arguably the finest screenplay ever written. Ernest Lehman started the task, but Clifford Odetts (the later years, more bitter Odetts) was called in to "punch it up," as Tony Curtis later explained in a lecture at the Smithsonian a couple of years ago (the film was never shown publicly in Washington until the mid-1990's). (According to Curtis, such lines as "The cat's in the bag, the bag's in the river" were by Odetts, whom Curtis observed in a trailer on the set after midnight in Manhattan at a typewriter next to a whiskey bottle.) What other movie features lines like: "My left hand hasn't seen my right hand in 30 years"? This is clearly Tony Curtis' greatest role as a sleazy press agent, yet it is nearly topped by Burt Lancaster's chilling performance as a corrupt columnist. The dialog moves at breakneck speed chock full of such artifice that one is left nearly breathless trying to follow along. For jazz aficionados, check out the cameo appearance by Chico Hamilton's quintet with Paul Horn on flute and Fred Katz on cello, a rare film recording of their trademark "Tuesday at 2" late night jazz riffs. (The soundtrack equals the excellence of the rest of the film.) The photography by James Wong Howe is, as usual, impeccable, making ample use of wide angle lenses. For New Yorkers, this film captures the essence of Manhattan after dark. Although the setting is the world of the airwaves, the print media, and publicity hounds, the script is so true to life that I've found astonishing parallels to my workplace. Yet the words are so laden with methaphor as to defy the imagination. Sit back and let this picture take you away. It's a ride you won't soon forget.

Almost no one is not a self serving SOB! And everyone ends up getting there just rewards! This is Tony Curtis best performance he ever gives although he is a most loathsome character!

Who could have known that "pretty boy" Tony Curtis had it in him to so flawlessly portray such an obsequious and slimy press agent as Sidney Falco? And, with out a doubt, Burt Lancaster "is" the very embodiment of columnist J.J. Hunsecker. Any casting to the contrary would be unthinkable. Although these men despise each other, they are bound by an inextricable need for each other. Hunsecker is hardly uncertain about his status as top dog in the newspaper world. He is arrogant, rude, and downright despicable. The power of his pen is absolute. He can make or break you. His path is never crossed. Falco's obsession is to rise to the heights of the all-mighty J.J. Hunsecker.Many of the secondary cast members fit flawlessly into this film. For example, Martin Milner (who is mostly remembered as Tod Stiles in the acclaimed early sixties television series "Route 66") plays "the targeted" Steve Dallas. Another familiar face is that of David White (known as Larry Tate of the early television comedy "Bewitched") who appears here as the sleazy Otis Elwell. Also, look for an un-credited appearance by Jay Adler as the creepy opportunistic talent agent Manny Davis. "Everybody knows Manny Davis ...Except for Mrs. Manny Davis". The list goes on.Brilliantly directed by the great Alexander Mackendrick with screenplay adaptation by Clifford Odets and Ernst Lehman and an outstanding jazz score by The Chico Hamilton Quintet. Quotable lines from this film are boundless. And, I should mention that the black and white camera work by master cinematographer James Wong Howe is exquisite. Don't hesitate to see this film.

Sweet Smell of Success -Blu Ray ReviewSweet smell of success 1957 Directed by Alexander Mackendrick, Starring Burt Lancaster and Tony Curtis. Arrow Blu Ray release date: March 30th 2015Director Alexander “Sandy” Mackendrick had enjoyed a succession of triumphs in England. Working out of Ealing studios; he directed such memorable comedies as The Man in the White Suit, Whiskey Galore and the deliciously dark The Ladykillers. As the Ealing factory system began to dry up, Mackendrick made an arguably unlikely move to America. It was through a number of mishaps, unfulfilled projects and (one could argue) a degree of ‘fate’ that Sweet smell of success eventually fell into the lap of Mackendrick.Whilst there was little doubt of Mackendrick’s immense ability as a director, there was perhaps - an element of doubt whether he could actually undertake a film such as Sweet Smell of Success. After all, those subtle British films were about as far removed as one could possibly imagine when compared to the media dynamics and fuelled corruption of Sweet Smell of Success. However, Mackendrick had a good eye, a very good eye in fact. Given time to observe the city he knew how to capture it at its best. Through the camera lens, Mackendrick presented Manhattan better than any other contemporary film had done and as a result, undoubtedly influenced esteemed future directors such as Woody Allen.The film’s ‘master and dog’ relationship between newspaper columnist J J Hunsecker (Burt Lancaster) and the Machiavellian press publicist Sidney Falco (Tony Curtis) is the only one of importance. Lancaster was never more imposing as Hunsecker, whilst Curtis displays a slimy charm and a sickening depravity as Falco. As the relationship unfolds it becomes a battle of wits and power - Falco believes himself to be in a symbiotic relationship with J J — he provides him with the stories he needs - but, by the close, the power imbalance is made depressingly obvious. Feeding off the crumbs left by Hunsecker, Sidney is always destined to be consumed by J J’s domineering dictatorship. Whilst Sweet Smell of Success remains a stunning piece of work, it is also not without its flaws - specifically in the romantic relationship between Hunsecker’s sister Susan (Susan Harrison) and Steve (Martin Milner) an aspiring young a jazz musician. Not that there is anything wrong with this coiling plot, the story of Susan’s sinisterly over-protective brother and his scheming through Falco to dishonour Steve’s reputation provides the film’s central narrative – all of which works perfectly. However, it is sadly the performances from the inexperienced Harrison and Milner that hamper the film’s vibrant energy and pace – they are both limp and damp. In contrast, such powerhouse performances from both Lancaster and Curtis, and the provision of a razor sharp, over the top script by Ernest Lehman and Clifford Odets – still cements Sweet Smell of Success as one of the greatest films of its kind. Combined with James Wong Howe’s sumptuous deep-focus cinematography and Elmer Bernstein’s brassy musical score and you are left with something damn near close to a perfect movie.Arrow’s newly restored High Definition (1080p) presentation is a 4K digital transfer from the original 35mm camera negative – and frankly it looks incredible. As Sweet Smell of Success is such a personal favourite of mine, I have followed its evolution on home video - through VHS, Laserdisc, DVD and now Blu Ray – it’s been an interesting journey – but feel confident that I have finally arrived at my destination. The film has never looked so crisp and clean, it is spotless and always deserved to look this good. There are a couple of location scenes that look a little ‘too’ real for my liking – I’ve always considered there may be a few lengths of stock footage involved here, but I can’t be sure. Regardless of these random shots – it never detours and falls seamlessly in line with the general atmosphere and harsh realism of the urban setting. Wong Howe’s photography is defined by deep dark blacks, varying arrays of grey shade and subtle use of intelligent lighting. Pin striped suites and intense close ups are all solid and reveal sharply defined detail. Lancaster’s face and glasses (permanently lit from above) creates a near ‘skull like’ shadow upon his cold gaze, the results of which look rather spectacular in this new Blu Ray edition.Arrow continue to supply the audio in an original untampered and uncompressed PCM mono 1.0, which is clean and free from any distortion. Extras consist of an Appreciation by critic and film historian Philip Kemp, author of Lethal Innocence: The Cinema of Alexander Mackendrick – Kemp appears in the top left of screen presenting a detailed analysis of the film while several scenes are presented. Kemp also provides a selected scene commentary – taking several key sequences, Kemp is permitted to expand on detail. It does nevertheless raise the question – why didn’t Kemp provide a full commentary track? The man is obviously an expert on the movie – and his knowledge would have been very welcome (and valuable) throughout. It’s a strange one?The bonus highlight for me is Mackendrick: The Man Who Walked Away – Dermot McQuarrie’s 1986 Scottish Television documentary which features extensive interviews with Mackendrick, Burt Lancaster, producer James Hill, Gordon Jackson and many others. It’s a great example of how documentaries of this kind use to be made – rather than the quick, cross cutting MTV style of documentary making today. It’s certainly one to take time over and enjoyed fully.The film’s Original Theatrical trailer is also included.Arrow has again spared no expense in terms of packaging. They have provided a reversible sleeve featuring both an original poster and newly commissioned artwork by Chris Walker. The Collector’s booklet (40 pages) includes new writing on the film by Michael Brooke and Mackendrick’s own analysis of various script drafts – it is also illustrated throughout with original stills and posters. It all makes for a wonderful package and one that should be savoured – ‘I love this dirty town!’Darren Allison, Cinema Retro Magazine

I have often wondered why Clifford Odets' plays are never revived these days and now I know why. Odets wrote the screenplay for this film and frankly it's rubbish.If you compare the way journalists behave in this film with other, better-written films, such as All the President's Men, The Front Page and Citizen Kane, you can see the difference. The journalists in this film are so rude and unpleasant, how did they ever get anyone to give them information? And why do they never write anything? Anyone who has to write a daily column would, unlike the central character in this film, be hard at work most of the day. Odets, who never worked as a journalist, seems to imagine that journalists can write anything they like. They can't. They have to be wary of the libel laws. They have to be sure the story is true. You can't just print a libel (as happens in this film) without even bothering to check. What would you say in court when you were sued?Of course it's well-directed, well-photographed and well-acted and that presumably is why so many pundits think it's good. But it would help if the writers knew what they were writing about. Yes, some journalists are awful and blinkered and prejudiced - but they're not awful, blinkered and prejudiced like that. The prejudice here is entirely with the writers

This is a review of the Region B2 Arrow Academy Blu-ray, which is, as ever, of excellent quality.This is, without doubt, one of the darkest, most unrelentingly bleak films I have watched in a long time. And it is certainly Burt Lancaster, in an unforgettable role, as we have never seen him before. As the reptilian, Machiavellian, uber-manipulative New York Gossip Columnist, J.J. Hunsecker, he haunts the film, even when he is not present. And Tony Curtis, as his success and money-hungry puppet Sidney Falco, is as far from ‘Some Like it Hot’ as it is possible to imagine. Both men deliver what may be career-best roles. For Lancaster in particular, playing J.J. as a man who has no redemptive qualities, but with a decidedly unhealthy regard for Susan, his little sister, this was also a hugely brave performance.It is possible, given the 2 impressive leads, to ignore the other cast, which would be a pity. Martin Milner plays Susan’s boyfriend, who is malevolently targeted by J.J, and he does so with great presence and dignity. Susan Harrison is suitably mousy and brow-beaten as Susan. And Barbara Nichols is wonderful, as the only slightly lighter character, Rita the Match Girl.The other star is James Wong Howe’s superb camera work. New York is shown as the city that never sleeps, a city of constant traffic, 24 hour party people, fights and bars and jazz clubs. And a never-ending appetite for gossip, preferably salacious.This film truly deserves that over-used but often undeserved accolade ‘tour de force’. It is not a comfortable watch, but it is without doubt, a ‘must see’.

Curtis is great, and the criticism of a dog eat dog approach to life is still valid. Apart from that, the movie did not reach the expectations I had after reading all enthusiastic reviews:- some other actors seem wooden (e.g Burt Lancaster who plays JJ)- the story doesn't seem realistic and motivations of the characters are not always clear; it's like reading a comic book- some characters are so stereotypical (corrupt NYC cop for example) that it's funnyAn enjoyable experience overall, but not astonishing.

The Script On This Is Razor Sharp; Well Acted.Both Men Losing Every Thing Dear To Them.