*Sweet Smell of Success*

*Sweet Smell of Success* is a 1957 American film noir drama directed by Alexander Mackendrick and starring Burt Lancaster and Tony Curtis. Based on a novelette by Ernest Lehman, the film follows a ruthless Broadway columnist and a desperate press agent who become entangled in a web of corruption and manipulation in the world of New York City nightlife. Praised for its sharp dialogue, atmospheric cinematography, and unflinching portrayal of moral decay, it has grown in stature to be considered a classic of American cinema.

Plot

The narrative centers on the powerful and feared gossip columnist J.J. Hunsecker, whose syndicated newspaper column can make or break careers in Manhattan. His unscrupulous press agent, Sidney Falco, desperately seeks favor with Hunsecker by any means necessary. Hunsecker tasks Falco with sabotaging the relationship between his younger sister, Susan Hunsecker, and a jazz musician, Steve Dallas, whom he deems unsuitable. Falco executes a scheme involving planted drugs, police corruption via Lieutenant Harry Kello, and smears in rival columns like Otto H. Kleitz's. The plot spirals as Falco's manipulations grow more vicious, leading to a violent confrontation that exposes the hollow core of both men's ambitions amidst the glittering backdrop of venues like 21 Club and Toots Shor.

Cast

Burt Lancaster delivers a chilling performance as the omnipotent columnist J.J. Hunsecker, a role inspired by real-life figures like Walter Winchell. Tony Curtis, cast against type, portrays the slimy and ambitious press agent Sidney Falco. Susan Harrison plays Hunsecker's sheltered sister, Susan Hunsecker, while Marty Milner appears as her beau, the principled guitarist Steve Dallas. The supporting cast features Sam Levene as Falco's sympathetic colleague Frank D'Angelo, Barbara Nichols as the cigarette girl Rita, and Joe Frisco as the comic Herbie Temple. Emile Meyer portrays the corrupt police lieutenant Harry Kello, and Jeff Donnell appears as Falco's secretary Sally.

Production

The project originated from a *Cosmopolitan* magazine novelette by Ernest Lehman, drawing from his own experiences in the Broadway publicity world. Lehman's initial screenplay proved too controversial, leading producer James Hill to bring in playwright Clifford Odets for extensive rewrites; Odets infused the script with his trademark hard-boiled, poetic dialogue. Director Alexander Mackendrick, famed for Ealing Studios comedies like *The Ladykillers*, brought a stark, cynical vision. Cinematographer James Wong Howe used innovative techniques, including pre-fogged film and nighttime location shooting in Times Square, to create a deeply atmospheric and shadow-drenched visual style. The score by Elmer Bernstein prominently features the Chico Hamilton Quintet, blending cool jazz with dramatic tension.

Release and reception

Upon its initial release through United Artists in the summer of 1957, the film was a commercial disappointment, with its bleak tone alienating some audiences and critics. Reviews were mixed; Bosley Crowther of The New York Times found it "sordid" but compelling, while other publications criticized its unsavory characters. The performances, particularly that of Tony Curtis, were often singled out for praise. Over subsequent decades, critical reassessment was dramatic. Influential critics like Pauline Kael championed its artistic merits, and it gained a cult following through television broadcasts and home video releases. It is now frequently featured on lists of greatest films by institutions like the American Film Institute and is preserved in the National Film Registry of the Library of Congress.

Legacy

The film is now regarded as a pinnacle of the late film noir cycle and a scathing critique of media power and celebrity culture. Its influence is evident in later works exploring similar themes, such as the television series Mad Men and films like *The Player*. The acerbic dialogue by Clifford Odets is frequently quoted and studied. Major retrospectives at institutions like the Museum of Modern Art and the British Film Institute have solidified its canonical status. Scholars often analyze it alongside the work of journalists like Walter Winchell and the era of McCarthyism, noting its prescient commentary on manipulation and truth. The film's restoration and subsequent DVD releases by The Criterion Collection have introduced it to new generations, cementing its reputation as a masterwork of American cinema.

Category:1957 films Category:American films Category:Film noir