The Sting is a slick, finely crafted gambling con film inspired by the real-time thievery of brothers Fred and Charley Gondorff. During the Great Depression in 1936 in Joliet, Illinois, grifters Johnny Hooker (Robert Redford), Luther Coleman (Robert Earl Jones), and Joe Erie (Jack Kehoe) swindle $11,000 out of an unsuspecting “mark” (victim). Though Hooker loses his share at a rigged roulette game and Coleman tells him he’s retiring with his share, Hooker’s encouraged when Coleman tells him to seek out old friend Henry Gondorff (Paul Newman) and learn about “the big con.” Upon departing, Hooker gets confronted by corrupt cop Lt. William Snyder (Charles Durning), who tells Hooker his last mark was actually esteemed and infamous mob boss Doyle Lonnegan’s (Robert Shaw) courier. Dashing back to Coleman’s residence, he finds his retiring partner dead, forcing him to rush to Chicago and get Gondorff’s help conning Lonnegan himself. Upon finding the drunken, in-hiding Gondorff in a carousel-fronted brothel, he explains the situation and Coleman’s death. The pair then scheme and execute an obsolete and sophisticated plan, leading to a film of devilish tricks, charismatic falsehoods, and daring strategies that could land anyone in jail or Hell.

When The Sting was first released, it was nominated for 10 Oscars and won 7, including Best Picture and Best Original Screenplay. From everyone’s zingy, peppy speech patterns to the necessity for everyone to think on a dime, writer David S. Ward ensured that The Sting lives up to its titular promise in every sense. The score is also quite joyful; featuring “The Entertainer” as the central theme, the score maintains an optimistic buoyancy that otherwise would sink given the film’s dangerous events. Redford and Newman also fill their roles with a nuanced bubble; though they must strategize and keep on their toes, a sense of childlike playfulness oozes when they encroach upon the endgame. Such childishness relieves the rest of the film’s tone as well because it unpredictably feels like no matter what happens, both Hooker and Gondorff will get away.

“The Hook” demonstrates such childish contrasts between The Sting‘s central characters and everyone else. Aside from the zippy wordsmanship, beautifully hand-drawn section titling, and clever camera work deceiving the audience, there’s a stark difference in the realities of Lonnegan and Gondorff. Lonnegan sees the game as a test of his integrity and wealth; the more he loses, the more both publicly slip. There’s no room for humor when your reputation and power are at stake, even on a random train on a random night. But for Gondorff, the present moment is all that matters: they’re playing a game, and he wants to win. Not only does this dissect the apathetic, selfish mindset that comes with long-time wealthy and powerful living—a trait that looks to be encouraged in the presidential administration gaining power next week!—but it demonstrates why and how Gondorff and Redford will succeed: they love the grift, as children would in the playground. In the end, Hooker doesn’t take his share because the experience was thrilling enough to enrich for a whole lifetime. And watching that experience, with every twist and turn, is a satiating time.

These intentionally adolescent and somewhat anti-capitalist themes, combined with varying cinematography, joyful scoring, a sharp script, stellar performances, and a firm grasp on human nature to spice up this long con, make The Sting an unmissable journey through America’s back channels. For con fans, old film fans, or those looking for something both fun and thought-provoking, Sting stings.

Screens in 4k Ultra HD Tuesday, 1/14, 7:00 pm @ Landmark Kendall Square Cinema
Part of the ongoing repertory series: Retro Replay: And the Best Picture Goes To…