Sweet Smell of Success

How could someone try to categorize "Sweet Smell of Success"? Referred to most of time as a noir or suspense thriller it would stretch and blow up the bounds of these descriptions. It was quite rare to see characters so utterly inhumanely vile trying to outdo each other's Machiavellian manipulations for a solid hour and a half. Audiences completely rejected the movie causing large losses to Burt Lancaster's co-owned production company. But many critics of the day caught the important artistic sensibilities of the film including the insanely memorable dagger like quips, the dark take on tabloid journalism and the unique long shot cinematography of 50's New York City. Today it is widely considered a first-tier American classic included in many "best of all time" movie lists.For me, while Lancaster's brutal portrayal of a powerful gossip columnist J.J. Hunsecker based on Walter Winchell sends chills up and down the spine the heart of the movie beats on with Tony Curtis' stunning take on low level press agent Sidney Falco. It is Curtis' greatest acting in my mind as it is so against type and his subtle manipulations sliding and slithering around destroying as he goes never resting never questioning his actions. He wants to sit in the booth at "21" Club either at the side of Hunsecker or in place of him. And he'll do anything to get there. Period. We see slight glimpses of humanity, a pause here or there, but they are quickly crushed. It is an amazing acting turn.The Criterion Blu-ray does the usual excellent job at presenting this film at its best for picture and sound. The remaster is a 4K scan off of the original 35mm negative. While I did see a few white creases and flashes they were extremely rare. The picture is essentially clean with beautiful jet blacks, highly detailed greyscale and contrasty whites. The detailed texture of clothing is eye catching and the famous long shots of James Wong Howe of New York City streets at night are just amazing. The remastered PCM mono track has good clarity and fullness without distortion. The all-important razor-sharp dialog is well heard and the jazzy music soundtrack shines through. Supplements include several interviews that are very rich with information.This Criterion Blu-ray is a no-brainer for any cinephile or movie lover's collection. The film is so unique in its place in American cinema that at least a watch is strongly suggested. You'll likely never forget J.J. Hunsecker or Sidney Falco.

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.

I always sort of put off seeing this even though I've heard good things about it. I think it was because Tony Curtis is in it and the only thing I've ever seen him do were really bad introductions to some Alfred Hitchcock DVDs. In those introductions, Curtis fumbled his lines (which were often filled with errors) and so I assumed he was the worst actor in the world. I should kick myself.This movie is not only one of the best "noir" films I've seen but one of the best movies I've ever seen PERIOD.It's included in the noir category despite it not being a crime drama at all. The reason for this is it's shadow-filled cinematography and its theme of corruption. According to this movie, human beings are bleak, cold-hearted creatures.It's about a Broadway columnist (played by Burt Lancaster in one of his best roles) who manipulates everyone he comes in contact with. He is one of the vilest, cold-hearted bastards I've ever seen in a movie because he's just so real. This isn't a noir hit-man in a fedora hat. This guy could be real and I'm sure some of us have met or will meet someone like him. Tony Curtis plays a bastard publicity agent though you sort of feel bad for him even despite his faults. He's the "protagonist" and we are told the story through his eyes. There are a couple of characters who have integrity and are not so corrupted but they only count as victims of the manipulation.The acting is top-notch. Both Lancaster and Curtis had me in awe throughout the whole movie. Usually movies about "show business" don't interest me all that much but this movie was fascinating. This is dark look at NYC life in the 1950s. I recommend it with every noir-loving bone in my body.

I accidentally ordered two identical copies of sweet smell of success. I ONLY INTENDED TO PURCHASE ONE COPY THEREFORE I AM PUTTING IN A CLAIM FOR A REFUND TO MY ACCOUNT. WHICH I HAVE DONE. AS SOON AS I RECEIVED BOTH COPIES, I HAVE BEEN WAITING FOR INSTRUCTIONS NOW FOR CLOSE TO A WEEK BEFORE I CAN SHIP THE EXTRA ONE ORDERED IN ERROR BACKSINCERELY BOB WILSON

Ottima colonna sonora e la presenza nel film del Chico Hamilton quintet

He was right. The dialogue, cinematography, the perfomances, everything is extraodinary. "You're dead, son. Go get your self buried". Just great.

Rédacteur en chef d'un influent journal new-yorkais, J.J. Hunsecker est un personnage sans scrupules qui use de toutes les bassesses et de tous les coups tordus pour arriver à ses fins. Extrêmement craint dans son milieu, il fait et défait les carrières avec un simple article. Son amour malsain pour sa jeune soeur lui fait voir d'un très mauvais oeil la relation de celle-ci avec un jeune musicien de jazz. Il est aidé de son attaché de presse, un être servile, malhonnête et aussi dénué de scrupules que lui, qui ne recule devant rien pour s'attirer les bonnes grâces de son patron et satisfaire sa propre ambition. Le duo va tout faire pour détruire la carrière du jeune homme et éloigner sa soeur de lui.Produit par Hill-Hecht-Lancaster Productions et distribué par United Artists, ce film très noir est sorti dans la foulée de "Trapèze", Lancaster ayant choisi à cette occasion Tony Curtis, et quoi de mieux que deux natifs de New-York pour ce film. New-York, son âpreté, sa sécheresse sont au centre de ce film très sec, vénéneux, sombre, pessimiste sur la presse à sensation, le showbiz où des journalistes se prennent pour des juges de l'Inquisition. C'est une déformation professionnelle chez Lancaster avec chantages, menaces de destruction de carrière, et cette affection obsessionnelle et dérangeante pour sa soeur. Tony Curtis, qui nous a habitués à des rôles légers, joue un vrai personnage cynique, ce n'est pas Jack Lemmon dans " La garçonnière" qui ferme les yeux pour avoir de l'avancement;là tous les coups sont permis y compris les mensonges,la manipulation,il n'hésite pas à livrer une "amie" à un ponte libidineux pour obtenir ses bonnes grâces.Fort avec les faibles,faussement obséquieux avec les forts et les puissants dans l'espoir d'un jour prendre leur place,Tony Curtis est à mille lieues des films plus légers qui font sa notoriété.Lancaster est lui aussi étonnant loin de l'athlétique "corsaire rouge" au sourire carnassier.Sa froideur atteint son paroxysme dans la scène d'affrontement avec le petit ami de sa soeur.Si ce film d'aspect très noir évoque vaguement " Eve" à travers le personnage de Tony Curtis aux dents qui rayent le parquet,la légéreté et d'humour du chef-d'oeuvre de Mankiewicz sont absents de ce film presque documentaire que n'aurait pas renié Jules Dassin pour qui Burt Lancaster avait d'ailleurs incarné l'un des héros des "Démons de la liberté". Comment dès lors surnager dans ce milieu infesté de requins pour les personnes honnêtes comme le petit ami de la soeur de Lancaster.De part le domaine de la presse écrite,des imprésarios et des clubs,la majorité du film se passe de nuit,ajoutant à la noirceur ambiante.Il y a du "Phantom lady" de Siodmak avec plusieurs années de distance dans ce film où la musique des clubs new yorkais tient une grande place.

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