Review #40: 'Sweet Smell of Success' (1957)

When it comes to the newspapers in the movies, they are usually portrayed in one of the two following extremes. Either they are heroic figures, fighting against political corruption and sleaze, or uncovering a massive conspiracy that have failed to have been noticed, in such films as The Killing Fields (1984) or the classic All The President's Men (1976). Or they are complete scum, sticking their noses in or desperately trying to spin a story to the expense of someone's privacy, such as in Salvador (1986 - although James Woods' character is the central figure, he is portrayed as sweaty, booze-addled and pathetic) and La Dolce Vita (1960), where the term 'papparazzo' was formed. In terms of the latter, never has the newspapers been so viciously portrayed as in Sweet Smell Of Success, where desperation and lies are the name of the game.

Sidney Falco (Tony Curtis) is a young press agent working for columnist giant J.J. Hunsecker (Burt Lancaster), who has set Falco the task of breaking up the relationship between up-and-coming jazz musician Steve Dallas (Martin Milner) and Hunsecker's sister Susan (Susan Harrison). Falco is at the point of desperation, as the two are on to his plans, so Falco puts into motion an act so complex and devious that it just might work. He sets about ruining Dallas' reputation by spreading the rumour that he's a pothead Communist, only to have Hunsecker then salvage his reputation. Falco foresees that Dallas would then reject Hunsecker's help, opposing the nature of his work, and thus causing Susan to break off the relationship. While all this is going on, Falco is losing money and clients, and must scheme his way out of his situation and have to deal with the monstrous Hunsecker.

The greatest thing about this stone-cold classic is the complete lack of conscience between the two leads. While Curtis' good looks may make him the more sympathetic of the two, his character is an absolute slimeball, and we watch him repeatedly cheat, scam and bullshit his way out of corners, all for the benefit of his career. In my opinion, it's Curtis' greatest performance. He will always be remembered primarily for his cross-dressing performance in Some Like It Hot (1959), but here he puts his charm and good looks on the line for the sake of a complex and extremely mature performance. It is a performance he would come close to equalling later on in his career in the thoroughly underrated The Boston Strangler (1968). Lancaster is nothing short of terrifying. One of the greatest 'villains' in history, he is a tower of rage and brutality, using people left right and centre for his own selfish means. He is completely lacking in sympathy and ethics, and Falco laps up every order and direction like a obedient dog. He is the domineering force of the film, even though Tony Curtis eats up the majority of the screentime.

The screenplay has enough words to fill about 5 feature-length scripts. It's full of wonderful one-liners and riveting monologues and they are all delivered with skill by the cast. It's similar to another classic set in the world of newspapers His Girl Friday (1940). Yet while the fast-paced dialogue was used in that film for comedy purposes and to allow leads Cary Grant and Rosalind Russell to bounce sexily off each other, here it is used as a way to portray the evilness of its leads, confusing the audience as much as they confuse the victims of their acid-tongued schemes. Director Alexander Mackendrick, who also directed Ealing classics The Man In The White Suit (1951) and The Ladykillers (1955), shoots the whole film with a noir-ish bleakness. Even though the film is set in a fast-paced world filled with stars and classy settings, the film managed to capture the emptiness of the surroundings and of the profession. A true classic, featuring staggering performances by the two leads, and fantastic, unfussy direction from Mackendrick. Way ahead of its time.


Directed by: Alexander Mackendrick
Starring: Burt Lancaster, Tony Curtis, Susan Harrison, Martin Milner
Country: USA

Rating: *****

Tom Gillespie