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  1. The Sweet Smell of Success
  2. Sweet Smell of Success - Wikiquote
  3. The Sweet Smell of Success
  4. Production notes and credits

Everyone's a maniac of the most terrifying type - the smart, the calculating. Why did this movie have to end? I did think that this kind of dragged sometimes, which was weird given that it was so short.

Seen this several times on TV, but never in a theater until tonight, and was blown away by how tense and visceral it is despite being entirely dialogue-based and set thankfully in completely alien terrain do gossip columnists still exist? Are there powerful bloggers? Are they evil? And at the same time I wasn't sure HOW this was the case - unlike other edge-of-your-seat gabbers like The Maltese Falcon or Reservoir Dogs there's no physical jeopardy here, and little criminal tension - the conflicts are almost entirely moral or even existential in nature.

So why is it such a suspenseful, at times virtually unwatchably tense piece of drama? I think it's largely the dialogue, which is so sharp that it…. Such a solid screenplay, the writing in this is brilliant, so many quotable lines and the noir style is brilliant, the film runs so smoothly and is fantastically paced.

Definitely one to watch for anyone!

The Sweet Smell of Success

Alexander Mackendrick was a director that never really got his due. This is a film that I feel improves with rewatches. In the beginning, it feels like you have jumped into the middle of the story and you missed something important. This is a film that makes you work. The dialogue is sharp and snappy. Everyone has a line they can pull out of their pocket and throw at the other character.

Sweet Smell of Success - Wikiquote

There are very few films that have dialogue as sharp as this film. The cinematography is beautiful. James Wong Howe was one of the greatest cinematographers of his era, and arguably the best in terms of black…. Review by Mike A. The "sweet smell of success" is a reality, he is convinced, and "Hunsecker is the golden ladder to where I want to get. That the diabolical schemers are upset is somewhat anticlimactic.

The fact that justice is done and young love wins out eventually does not really solve the riddle that is Hunsecker. Tony Curtis contributes a polished performance as the venal, double-talking, two-timing Falco, who is willing to go to extremes to do his gossip-dispensing Svengali's bidding. Nevertheless it is a disturbing portrait since he does not entirely emerge the black-hearted villain he is supposed to represent.

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Burt Lancaster's delineation of Hunsecker is efficient but largely restrained. It might be difficult for the uninitiate to understand why it is necessary to curry his favor but he gives the role its proper modicum of callousness. Susan Harrison, a newcomer to films and a pert, appealing youngster, evokes sympathy as the columnist's distraught sister. Marty Milner is sincere and believable as her indomitable romantic vis-a-vis, and Barbara Nichols, as the voluptuous nightclub temptress Mr.

Sweet Smell of Success (8/11) Movie CLIP - A Prisoner of Your Own Fears (1957) HD

Curtis' harried secretary add competent touches in their brief appearances. Alexander Mackendrick, the British director, and James Wong Howe, his cinematographer, who shot a good part of their film hereabouts, have gotten a fair portion of our town's fast tempo, its night spots and its sleazy aspects into their production.

The Sweet Smell of Success

A viewer cannot blame Hunsecker too much when he happily exclaims, "I love this dirty old town. At Loew's State. Burt LancasterSidney Falco. Tony CurtisSusan Hunsecker.

Production notes and credits

The picture was a disaster when it opened: It did no business; it got no nominations—not even for Howe, let alone Tony Curtis or Burt Lancaster, or the gang of writers who found a way for them to talk. The production had been painful.

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Director Alexander Mackendrick born in Boston but raised in Glasgow and the British film business was a stylist and a perfectionist, brave enough to challenge Lancaster whose company, Hecht-Hill-Lancaster, was making the picture. Ernest Lehman had supplied the basic material and some script, but the very famous or nearly washed up Clifford Odets had been kept in a trailer on the streets at night, typing out dialogue for the guys to use as poison darts.

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Hunsecker is a powerful New York gossip columnist. Curtis is the freelance press agent, Sidney Falco. Their scenes together changed film. It was their intimacy in evil and the power game they played. It was the sado-masochistic trip they were on and the subtle ways in which loathing and contempt veiled need.