Columbia Tristar Home Video
Region : 2 Certificate PG: Length 124min
Format : 1.85:1 enhanced for 16x9 television
Language : Dolby Mono; English, French, German, Italian, Spanish
Subtitles : English, French, German, Dutch, Portuguese, Swedish, Norwegian,
Danish, Polish, Czech
Extras : Production Notes : Cast & Filmmaker's notes
Paul Newman....Henry Gondorff/Mr. Shaw
Robert Redford....Johnny Hooker/Kelly
Robert Shaw....Doyle Lonnegan
Charles Durning....Lieutenant William Snyder
Ray Walston....J.J. Singleton
Eileen Brennan....Billie
Harold Gould....Kid Twist
John Heffernan....Eddie Niles
Dana Elcar....Special Agent Polk F.B.I.
Jack Kehoe....Joe Erie/Erie Kid
Dimitra Arliss....Loretta, Waitress at diner
Robert Earl Jones....Luther Coleman (as Robertearl Jones)
James Sloyan....Mattola, Lonnegan numbers runner (as James J. Sloyan)
Charles Dierkop....Floyd (Bodyguard)
Lee Paul....Bodyguard
Sally Kirkland....Crystal
Avon Long....Benny Garfield
Arch Johnson....Combs
Ed Bakey....Granger
Brad Sullivan....Cole, Combs' Torpedo
John Quade....Riley, Combs' Torpedo
Larry D. Mann....Mr. Clemens, Train Conductor
Leonard Barr....Burlesque House Comedian
Paulene Myers....Alva Coleman
Joe Tornatore....Black Gloved Gunman who shoots Salino
Jack Collins....Duke Boudreau
Tom Spratley....Curly Jackson
Kenneth O'Brien....Greer
Ken Sansom....Mr. Harmon, Western Union Executive
Ta-Tanisha....Louise Coleman
William 'Billy' Benedict....Roulette Dealer (as William Benedict)
Directed by…George Roy Hill
Written by… David S. Ward
Tony Bill....producer
Robert L. Crawford....associate producer
Julia Phillips....producer
Michael Phillips....producer
Non-Original Music by…Scott Joplin
Cinematography by…Robert Surtees
Film Editing by…William Reynolds
Art Direction by…Henry Bumstead
Set Decoration by…James W. Payne (as James Payne)
Costume Design by…Edith Head
Ernest B. Wehmeyer...production
manager
Charles Dismukes...second assistant director
Ray Gosnell Jr.....first assistant director (as Ray Gosnell)
Robert R. Bertrand....sound (as Robert Bertrand)
Ronald Pierce....sound
Albert Whitlock....special photographic effects
Mickey Gilbert....stunts (uncredited)
Dean Smith....stunt double (uncredited)
Charlsie Bryant....script supervisor
Jaroslav Gebr....title artwork
Marvin Hamlisch....musical adaptations
John Scarne....technical advisor
John Longenecker....intern: AFI (uncredited)
Eileen Peterson....unit publicist (uncredited)
John Scarne....card dealer double: Paul Newman's hands close-ups (uncredited)
Hoping that box-office lighting might strike twice, George
Roy Hill again joined forces with Paul Newman and Robert Redford, who star as
con men Henry Gondorff and Johnny Hooker in ‘The Sing’. In the Chicago of
the 1930’s, Johnny's partner, Luther (Robert Earl Jones), is fatally wounded
by a hit man sent by a victim of one of their scams, powerful syndicate boss
Doyle Lonnegan (Robert Shaw). Eager
for revenge, Johnny takes a tip from his dying partner and seeks out mutual
friend Henry Gondorff, a consummate master of the big con. Gondorff rouses
himself from his alcoholic inertia and agrees to help Johnny take down the
despicable Lonnegan, conscripting an army of grifters ready to avenge their
friend's death. The labyrinthine plot is stuffed with false leads, red herrings,
and double-crosses, involving a fake bookie joint, a very persistent FBI agent,
a bunch of corrupt cops, and one shifty dame.
The Sting is pretty well acknowledged as one of the best films of the 1970’s
and lives up to its hype on repeat viewings.
The flawless performances, the clever script and the masterful direction
mean that this is real movie magic. Doyle Lonnegan is not the only one who gets
conned; writer David S. Ward and director George Roy Hill sting the viewer, too.
Enhancing the period mood are the superb sets, photography, costumes and
soundtrack (the memorable Marvin Hamlisch orchestral transcriptions of Scott
Joplin's piano rags).
The DVD is presented with a flawless 1.85:1 enhanced for 16x9 picture and Dolby
mono sound. Although the only
extras are some production and cast notes Its one of those films that don’t
really need anything more – you just turn it on and sit back and enjoy a
modern classic. Even on repeat
viewings the twists in the plot are still wonders to behold.
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April 2003