Tuesday, July 28, 2009

1957: Sweet Smell of Success (Alexander Mackendrick)

Released: June 27, 1957

Director: Alexander Mackendrick; Screenplay: Clifford Odets, Ernest Lehman, and Alexander Mackendrick (uncredited) based on a novelette by Lehman; Cinematography: James Wong Howe; Studio: United Artists; Producer: James Hill; Music: Elmer Bernstein

Cast: Burt Lancaster (J.J. Hunsecker), Tony Curtis (Sidney Falco), Susan Harrison (Susan Hunsecker), Martin Milner (Steve Dallas), Sam Levene (Frank D’Angelo), Chico Hamilton (Chico Hamilton), Barbara Nichols (Rita), Emile Meyer (Lt. Harry Kello), Jeff Donnell (Sally)

- “Mr. Falco, let it be said at once, is a man of forty faces, not one - none too pretty and all deceptive.”

If I wanted to get really cute with this review, I would simply post a link to the Odets and Lehman penned screenplay, copy and paste a picture of both Tony Curtis and Burt Lancaster in their roles from the film, and end things at that. That would be more than sufficient in summing up why I consider this film to be not just the best of 1957, but among the finest that I have ever seen. In reality, my review of the film is just going to be expounding on these key strengths, while also singing the praises of the stunning nighttime photography of New York City. I almost never refer to a film as perfect, but I have to admit that when it comes to Sweet Smell of Success, there is nothing that I would argue needs to be changed.

The background on how the stars aligned to bring all of the principals in the film together is interesting. The script, cast, and production team were put together in stages, with each new addition to the team adding something to the final product. The story is based on a magazine story by Ernest Lehman that originally was published in 1950, basing the story on his own experiences working in the New York public relations industry. When the film rights to the story were acquired, Lehman quickly began to work to direct it himself. United Artists balked at the idea, not wanting a novice director causing problems. It was then that the producers turned to a director who had not worked in the United States in over twenty years – Alexander Mackendrick. Mackendrick, although born in the U.S., had moved back to Scotland at an early age and had been working in the film industry in Britain since the 1930s. He had made many successful films as a director at Ealing Studios, but with the sale of company, Mackendrick began casting his eyes toward Hollywood. Courted by the Hecht-Hill-Lancaster production company, which had the rights to Lehman’s script, Mackendrick agreed to come back to the States and take over director duties.

Mackendrick and Lehman began working together to tailor the script to the new director’s liking, but soon hit a snag when Lehman fell sick and was no longer able to continue. Into his place stepped Clifford Odets, who began reworking the script even further. I have personally never seen it pinpointed as to exactly what Odets was changing with the script, but it apparently was extensive, as the editing continued even after shooting began. Apparently, it was not changes to the actual storyline, but more of a refining role to improve individual scenes and dialogue. Whatever it was, it worked, as the script is superb, and all three men who had a hand in working on it deserve praise.

It is also Hollywood lore that Universal Studios, which owned Tony Curtis’ contract, was vehemently opposed to him playing the role of Sidney Falco. Curtis, on the other hand, lobbied hard to land the role and fortunately won out – if Curtis ever did better work than in this film, I haven’t seen it. I'll go a step further and say that there are few performances I've seen in _any_ film that top Curtis as Sidney Falco. Orson Welles was supposedly considered for the role of J.J. Hunsecker, a thinly veiled depiction of Walter Winchell, but United Artists pushed for the box office appeal of leading man Burt Lancaster. This is another choice that has been shown to have been correct, as Lancaster showed his versatility. Normally in films noir, Lancaster would play characters that were at heart well-intentioned men, but for whatever reason would be swept up in uncontrollable circumstances. As Hunsecker, he is playing a man with virtually no redeeming qualities.

The screenplay and its story are as biting as you’ll ever encounter. It follows a night in the life of press agent Sidney Falco (Tony Curtis), a PR man who can hustle with the best of them. As with every other press agent in the city, his number one goal in life is to get his clients mentioned in the newspaper gossip column of the powerful J.J. Hunsecker (Burt Lancaster). Although promised lines in the column, Falco is continually rebuffed by Hunsecker because he has been unable to deliver on a promise made to J.J. Falco had agreed to break up the romance between Hunsecker’s sister Susan (Susan Harrison) and rising jazz guitarist Steve Dallas (Martin Milner). Until that objective is achieved, Sidney is being shut out from the Hunsecker column.

Over the course of the night, the audience has a firsthand view of Sidney’s bouncing from nightspot to nightspot, meeting with clients, currying favor with journalists and doing his best to schmooze with important people. He also continues doing his damndest to pull Susan and Dallas apart from each other. Throughout the night he also meets with J.J. as the columnist holds court at his usual restaurant table. It is here that we see the power of J.J. Husecker as he has politicians and celebrities coming to him for favors, nearly groveling just to get an audience with him.

I’ve already sung the praises of the screenplay, and I won’t do my usual cut-and-paste of favorite lines (although I will post a link to the actual screenplay: http://www.awesomefilm.com/script/sweetsmell.html). As I said at the beginning of this piece, aside from being my all-time favorite screenplay, there is more than just the excellent writing to admire here. The two lead performances are absolute masterworks, particularly Tony Curtis. Sidney Falco is downright sleazy, with no limitations on what he will do to curry favorable press. In an ironic way, he wears this characteristic as a badge of honor – after all, in his eyes he is just doing his job. As one of his clients tells him, “It’s in a publicity man’s nature to be a liar.” But Sidney goes beyond simply lying. He is outright manipulative, and uses anyone he can to help him out of a jam – his secretary, his sometime girlfriend, his uncle. The amazing thing is that Curtis is so charismatic in the role that you can’t help but at least grudgingly like Sidney. Was this intended by the writers? I don’t know, but if it wasn’t then it is further proof that Tony Curtis as Sidney Falco is the ultimate conman!

All of this action takes place in exactly the setting that one would expect such shady characters to be operating in. I know that I am always harping on the atmosphere of great films, but it’s impossible not to admire the dark New York City streets and nightclubs captured brilliantly by Mackendrick and cinematographer James Wong Howe. They craft the perfect mood for the biting script and subject matter. The streets are dark, with smoke rising from every opening, swirling around the press hounds and P.R. men bustling about and lending a sinister undertone to nearly everyone encountered in the film. This movie isn’t dark in the same sense as other noirs, where there is a doomed feeling attached to every action. It is dark in a very literal sense – everything takes place at night and even when things are happening indoors, they are taking place in dimly lit bars or clubs. It might be reading too much into this fact, but it could very easily be interpreted that these bloodsucking press men are the modern equivalent of vampires who cannot see the light of day. Combine this with the jazz soundtrack of Elmer Bernstein and things are as I (correctly or not) picture New York City to have been at this time.

The story is acerbic and at times can be utterly cruel. Yet it’s always so much fun to watch. Maybe it says something about me and the many other fans of the film that find such biting humor to be so funny and entertaining… I’m not really sure. What I do know is that if we’re talking just pure enjoyment, there are times when I’m tempted to proclaim Sweet Smell of Success as my #1 film of any year.

Rating: 10/10

Other Contenders for 1957: This was an absolute no-contest year for me, but in going back through the roster of films released this year, 1957 actually was a great one in cinema. There were a lot of films that would have competed in any other year. Akira Kurosawa’s Throne of Blood is among the two best Shakespeare adaptations I’ve ever seen in film – the other being Kurosawa’s later Ran (I have Chimes at Midnight sitting next to the DVD player waiting to be watched, so that’s why it’s not included in that comparison). Other favorites from this year include familiar directors. Jacques Tourneur has quickly shot up my list of favorites and this year’s Night of the Demon is a horror classic. Billy Wilder, another longtime favorite, contributes a great mystery with Witness for the Prosecution. I love Charles Laughton in this film. Paths of Glory, from director Stanley Kubrick, might be the finest anti-war film that I’ve seen. I love the work Kubrick did in the 50s.

As for those outside of the Hollywood mainstream, I think that Ingmar Bergman’s Wild Strawberries is brilliant, and that early dream sequence still blows me away. I much prefer this one to The Seventh Seal which was released this same year. And Nights of Cabiria, from Federico Fellini, might be my favorite from the director.


  1. My Own #1 Film of 1957:

    Wild Strawberries (Bergman; Sweden)


    Tokyo Twilight (Ozu; Japan)
    House of the Angel (Torre-Nilsson; Argentina)
    Night of the Demon (Tourneur; UK)
    Twelve Angry Men (Lumet)
    The Seventh Seal (Bergman; Sweden)
    Paths of Glory (Kubrick)
    Throne of Blood (Kurosawa; Japan)
    Sweet Smell of Success (Mackendrick)
    Black River (Kobayashi; Japan)
    Peyton Place (Robson)
    The Tall T (Boetticher)
    A Face in the Crowd (Kazan)

    WILD STRAWBERRIES is one of the greatest masterpieces in the history of world cinema, and one of its master's greatest works. But both Ozu's TOKYO TWILIGHT and Torre-Nillson's HOUSE OF THE ANGEL are also supreme masterpieces.

    I applaud your great enthusiasm for SWEET SMELL OF SUCCESS, which of course boast one of the greatest screenplays of all-time (One you admit you were tempted to re-print. LOL!) Your examination of the film is typically informed by your thorough treatment and insights. For some reason, I expect you to be big with TWELVE ANGRY MEN, which I thought to be your kind of film, but perhaps you aren't such a big fan. I am completely with you on NIGHT/CURSE OF THE DEMON!!!

  2. Sam - I was even shocked myself at not liking Twelve Angry Men, but for whatever reason, I didn't respond to it at all. I had it recommended to me numerous times and told that I would love it, but it has always felt too hokey for me.

    One of your Runner Ups has shown an inexplicable oversight in my own "Other Contenders" section... Budd Boetticher's "The Tall T" is one I definitely meant to mention but for whatever reason was left out. It's not my favorite Boetticher-Scott collaboration, but it's in the their top tier in my opinion.

  3. Sweet Smell is good stuff, Dave, and Lancaster still seems to be underrated as an actor even though his range of roles in the 1950s and 1960s may be unrivaled. He may well be the first modern movie star by virtue of being able to shift from leading-man to character parts and back again, and from hero to villain, fairly effortlessly.

    But my own favorite from 1957 is Paths of Glory, which you describe accurately as a definitive anti-war film. I'd add that, along with All Quiet on the Western Front, it's the best rendering of World War I on screen. Great credit is due to Kirk Douglas for keeping Kubrick from copping out on the ending; the director was better for the experience. It also features a stupendous male ensemble including that king of character actors, Adolphe Menjou.

    My runners-up include David Lean's Bridge on the River Kwai, Budd Boetticher's Decision at Sundown (along with and ahead of The Tall T), Delmer Daves's 3:10 to Yuma, Louis Malle's Elevator to the Gallows, and Throne of Blood, as well as Sweet Smell of Success.

    I may as well admit now that Bergman is probably my most embarrassing blind spot when it comes to world cinema, and it's bound to get exposed a lot in the years to come.

  4. Samuel - I have Decision at Sundown sitting here waiting to be watched, so it's good to say that you like it to the point of preferring it to The Tall T.

  5. Dave – I am with you as far as “Sweet Smell of Success”, one of my all time favorite films and one that has been on my list to do a review on. “Paths of Glory” runs a very close second, and along with “Grand Illusion” and “All’s Quiet on the Western Front” are the greatest anti-war films ever made. I applaud your praise of Tony Curtis, who when given the chance, has done some very fine work, here and in “The Defiant Ones” and “The Outsider.” Great stuff!

    #1 Sweet Smell of Success

    Runner ups

    The Bridge on the River Kwai
    A Face in the Crowd
    Paths of Glory
    The Incredible Shrinking Man
    Sweet Smell of Success
    12 Angry Men
    Witness for the Prosecution
    The seventh Seal
    The Tall T
    Decision at Sundown
    The Cranes are Flying

    A special mention for the short animated film What’s Opera, Doc!”

  6. John - We seem to be on the same channel in most of the 1950s! It seems like quite a few years recently we've been spot on in our selections.

    I definitely need to watch Decision at Sundown after seeing both you and Samuel list it among your favorites of the year.

  7. It's hard to argue with this pick for sheer enjoyability. Maybe I should select it - after all, if the criteria is which film do I most want to watch at this moment, the answer for 1957 would be Sweet Smell of Success and that's true of many other moments, as well.

    Still The Seventh Seal may be my favorite of the year, and ultimately I would go with Nights of Cabiria, which is probably MY favorite Fellini as well (it was the first I'd seen of him, on the big screen no less).

  8. I would be immovable on this selection. Sweet Smell of Success might currently be my favorite movie ever made.

  9. It's rewatchability factor is exceedingly high.

  10. TC's finest moment. There is nothing more to be said about this movie, except you need to include it in your DVD collection.

    And as for the music, you can file it next to "The Big Combo" for sheer sleaze. Elmer Bernstein sure knew how to play....

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