The Sting

**It is imperative to rediscover this magnificent film.** There are many films about con artists and confidence games (Ocean’s Eleven and its two or three sequels, for example), but I had never seen one that was so good-natured and in which the main characters were so likable. It's a light, family comedy from the 70s, in which a group of tricksters decides to risk their lives to deceive a powerful and rich mobster in order to avenge a friend, killed by his hitmen. This film was, at the time, a huge financial success in the USA and won notable awards, especially seven Academy Awards: Best Film, Best Director, Best Original Soundtrack, Best Original Screenplay, Best Costume Design, Best Editing and Best Art Direction! Therefore, it is difficult to believe that a film with such qualities has been forgotten, but it is true. I never saw it on television, I never heard much about it, I don't think it even had much visibility outside his country of origin. In Portugal there wasn't, but I understand why: the film premiered the day before the country experienced a military coup against the government, and the rest of that year was very complicated here, so no one was very willing to go to the movies. Therefore, I think that recapping this film and bringing it back to theater, in a possibly restored version, would be a gesture of complete justice to its quality. The film has three enormous actors who deserve praise for the work done here: Robert Redford shows value and talent in a film that will open many doors for him, Robert Shaw offers us one of the best dramatic exercises of his artistic maturity and Paul Newman shines and enchants us in the role of an elegant and friendly swindler full of tricks. Seeing these three great actors together on stage is simply delightful. The film also has a good secondary cast, with Robert Earl Jones, Charles Durning, Eileen Brennan, Ray Walston and other good artists. On a technical level, we have to surrender to the impeccable cinematography achieved by the meticulous eye of director George Roy Hill, in cooperation with a team of good professionals, and which perfectly emulates old films from the 30s with the advantage of color, in tones deliberately brownish, golden and yellowish. The sets, props and costumes are simply incredible: the cars can make classic admirers salivate and the costumes deserve a place in the closet of any gentleman with a taste for the “old-style” elegance they exude. The period is well recreated and the situations balance dramatic tension and humor well. The soundtrack is solidly based on Scott Joplin's piano melodies and is wonderful to listen to, and the titles are magnificently well-designed and have art in themselves. It's a long film, two hours long, but it's so delightful to watch and so well edited that time flies by.