The Sting (1973)

In an era full of auteur-driven turbulence in Hollywood, The Sting stands out as a model of old-school craft, a richly appointed studio production with big stars and a premium on efficiency and pace.

The style here is so seductive and witty it's hard to pin down. It's like nothing else I've seen by Hill, and at times, it almost reminds me of Jacques Tati crossed with Robert Altman. It's good to get a crime movie more concerned with humor and character than with blood and gore; here's one, as we say, for the whole family.

One of those instances where everything good about Hollywood just fell into one place at the right time, it's almost impossible not to get swept up in the vivaciousness of The Sting as a whole. Magnificent, timeless stuff.

The Chicago locations are well used by veteran director George Roy Hill, and the wonderful 30s movie style (lots of horizontal and vertical wipes, flipping screens, irises in and out) enhances the sense of good, harmless, nostalgic fun.

The Sting is the most purely enjoyable film in Oscar history – and that, I think, puts it in the most valuable American film-making tradition of all.

The Sting has all the signs of a blockbuster. Paul Newman and Robert Redford are superbly reteamed, this time as a pair of con artists in Chicago of the ’30s, out to fleece a bigtime racketeer brilliantly cast with and played by Robert Shaw. George Roy Hill’s outstanding direction of David S. Ward’s finely-crafted story of multiple deception and surprise ending will delight both mass and class audiences. Extremely handsome production values and a great supporting cast round out the virtues.

The Sting represents one of the most popular, widely-loved films to win Best Picture in the last half-century and an example of grand entertainment.

In an age when films such as Guy Ritchie's Lock, Stock and Two Smoking Barrels and Steven Soderbergh's Ocean's Eleven are revered for their trickery, The Sting remains the definitive con artist comedy: as irresistible and ingenious as the scheme that hooks in Doyle.

Redford offers just the right amounts of arrogance and innocence to make Hooker a believable hustler but half-hearted scoundrel.

9.0/10 分。2026.04.09，重看，蓝光。时长02:09:16。。。修复得挺清晰的。。。经典电影。无数片子致敬过。套中套，局中局。像《两杆大烟枪》啥的，估计都借鉴了本片的结构。。。本片居然在1983年有一部续集。不过导演主演全换了。只有编剧有一个是第一部的。

确实够精彩！环环相扣节奏完美的高智商犯罪，后世同类型都可参考本片，配乐也很有记忆点

布拉德皮特爷爷与马修麦康纳爷爷的天作之合爱情。

倒推一下，《瞒天过海》→《十一罗汉》→《骗中骗》。 80年代之前的电影看得越多，越明白“电影已死”不是空穴来风。 如果说好莱坞的本质也是个复读机，电影呢？何尝不是～

七十年代，狂飙突进的新好莱坞时期出现一部如此具有复古气质的电影应该也是一件很反叛的事情，从故事到手法，无不如此；纽曼雷德福希尔三人聚在一起就有一种特别的质感。

这货是怎么拿到奥斯卡最佳影片的？《驱魔人》《呼喊与细语》明显更配得上获奖啊。除了保罗·纽曼和罗伯特·雷德福两大帅哥的表演和结尾的反转外，基本没啥看头。第一次看美国老片看到差点睡死过去。叙事节奏太慢，情节也显得幼稚，大反派竟然如此不堪一击，也是醉了。哦，配乐不错。（7.5/10）

有这样的样板戏在前， American Hustle的小金人从一开始就没戏啊。

1974年奥斯卡最佳影片。2013.9.7

高明的骗术家就像大导演，同伙是高超的演员，被骗的人则是甘愿被哄的观众。

即使在今天看来剧情上的最后一翻也还是颇为漂亮，更不要说轻快的节奏（以及音乐）和所有人极佳的表演。行骗者们联合纪律优雅从容仿佛是异国的江湖。这种集智力、执行力、冒险（甚至是死亡的危险）于一体的反道德、反规则游戏，有艺术的美感，又带点革命式的刺激。

从头精彩到尾，实在太好看了！任何环节都是一流，音乐尤其赞。保罗纽曼一个眼神就可以杀死我。从皮特神似雷德福这一事实也可判断出美国人其实审美观也是几十年不变的。

手法上有古典类型片的样子，结构消解为当年商业喜剧黑帮片的样式，主要是这环环相扣的剧情太吸引人了。两大影帝对标，帅的无可挑剔！70年代，奥斯卡最佳电影，后来这种盗亦有道俨然成为了一种屡被套拍的惯用模式。8.4

看得手心冒汗，紧张死了。不到影片最后，你永远不知道下一个骗局是什么，你永远不知道骗局是否结束。这部影片就是一个骗子，把我骗得晕头转向。

环环相扣，算无遗策。腔调，豪赌，美酒，艳遇，暗杀，设局，最关键是一群各有千秋并可以放心把脊背相交付的朋友——几乎就是古龙武侠了。Robert Redford活脱脱今日之Brad Pitt。♫The Entertainer

主题曲很经典 Paul Newman气质很赞 剧情虽然不够刺激 但综合来说 很不错<3

年轻时的Robert Redford 太帅了。比彼特还帅。

现在看来比较一般，早都拍成类型片了。眼光一瞟，居然是奥斯卡最佳影片！

Paul英俊得有板有眼。Robert果然像极了brad pitt。那张明媚的脸那双明亮的眼。连衣服都和十二罗汉中的他一模一样。

70一部欢快、乐观的影片。角色塑造的并不好，过强的叙事减弱了对人物的刻画。故事又比较一般，骗术看起来像儿戏，把反面角色完全当成了笨蛋。剧情长度也很失败，两个多小时就为了这个简单的故事，抻长的结果是整个故事很散，缺少应有的紧张感。用图片把故事分开章节，让故事变得更加廉价、幼稚、松散

Paul newman啊真是帅的让我无语……非常经典的片子……爱死70年代了