This picture is packed with some of the best dialogue and characterizations you could ever see. Definitely Tony Curtis' sleaziest roles and Burt is not too far off. The less-than-dynastic plot is the only aspect that keeps this from my top tier of favorites.

Burt Lancaster kicks asses.

The scene between Dallas and Hunsecker ranks as my favorite: a battle of wit and sharp dialogues, every line that Lancaster utters, marked by an uncanny underlying shrewdness, belie any degree of morality one could ascribe to his character; Truly one of the greatest villains I've had the pleasure to behold. Safe for the abrubt, rather anti-climactic ending, this is a great film: glamorously perceptive, superbly acted, sharply written, well-shot. Just see it.

The lowest you can go career-wise is newspaper columnist. As such I'm shocked to find that this freudian tale of morality, about how horrible such people are, largely failed to engage. While the acting is great all around (Especially a chilling Lancaster!), too much time is spent lingering on Curtis' wraith-like character, and the endless dialogues seems written for theatre. Essentially the story is so small in scope, that it never escapes being two sick fucks and a pretty gal.

Everything this movie excels at, it could've done even better. I guess Hollywood wasn't quite ready for it. Burt Lancaster is spectacular.

I haven't watched a film with dialogue as well written as this since, shit, probably a Tennessee Williams film, or something. The noir look (something that doesn't quite automatically hook me) worked well here, New York City is as claustrophobic in this film as you'll ever see it. Burt Lancaster's heel turn is the real star here, Curtis' mannerisms are a bit unintentionally funny these days, but that doesn't detract from how goddamn great this is.

This movie is full of razor sharp dialogue, and Curtis and Lancaster sell it beautifully. Never have I seen two characters fight to see who can be an even bigger scumbag.

Where Ace in the Hole succeeded, this excels. It's just as cynical and dark, but much more insightful and intelligent. Most of the credit has to go to the biting dialogue, but I'd be remiss if I didn't also mention the stellar black and white photography and the memorable score. Lancaster and Curtis are exceptional as some of the most amoral and despicable characters you'll ever find. It's one hell of a watch, and way up there as one of the best film noirs I've ever seen.

This is... a very different kind of film than to what I am used. (So much the better.) You know this was not greenlighted by a studio in the hopes of picking up extra change via the theme park ride. What it is is the story of a whole host of slimeballs who are constantly sliming all over each other, doing whatever they think is possible and expedient to pick up some extra money and/or rise another millimeter up the pecking order. The dialogue is a bit overripe, but it doesn't sink the film

Burt Lancaster's head is so big!

How did I manage to miss this one? What a riveting drama! It's amazingly dark for its time, and the leads do an unbelievable job. The ending seemed to infer certain positive events were going to occur when I don't believe that they would have--it seemed a little pasted-on and Hollywood for such a cynical film. Boy did I love watching these guys scheme, though!

Considering when it was made, this is deliciously dark. With impressive cinematography supporting his virtuous directing style, Mackendrick aces every scene. The script is taut, making expert use of beats and characterization (through carefully integrated exposition); the score, consisting of variations of a great theme, unforgettable. The acting is equally flawless: Curtis delivers a chameleon-like performance and Lancaster is mesmerizingly threatening. Both are pitch-perfect, as is the film.

Enchanting dance of 2 snakes entwined in their quest for power/pride/love - spewing poison all over the characters they come across with utmost contempt for any living being other than themselves. Brilliant cinematography with some of the best ever lead performances I have seen. Was blown away by the quality of this movie. A hidden and unappreciated gem.

Even by today's standards, SWEET SMELL OF SUCCESS is a shot of pure bile, plunging into the ugly world of a slick press agent (Tony Curtis) and the columnist who he must pander to (Burt Lancaster). Brilliantly written by Clifford Odets and Ernest Lehman, and wonderfully acted, with Curtis and Lancaster at their acidic best. Fine noir photography by James Wong Howe; good jazzy score by Elmer Bernstein. The direction and editing are a bit shaky early on; nonetheless, a highly enjoyable film.

The sleaze, it burns.

#173

gazeteci, köse yazari, gazeteci ajani, abi-kiz kardes, iftira, gazetecilik (kiz kardesinin bir caz müzisyeniyle evlenmesini istemeyen gazeteci abi, yardimcisiyla beraber sarkici gence iftira atar. bunun icin karmasik bir yöntem kullanan ikilinin planlari tutar. Bunaltti resmen, iyi degil)

Grabs you by the throat during the opening credits and doesn't let go for 96 minutes. A cynical and damning satire on celebrity, greed, ambition and power, it has two of the most ruthless characters in film history, immensely quotable hard-boiled dialogue, an amazing jazz score by Elmer Bernstein and cinematography that makes New York look even sleazier than it did in Taxi Driver. A film noir that depicts every kind of darkness you can think of.

I love these cynical 50's movies about the entertainment industry and the assholes who come out on top in it. Wonderful work from Lancaster, that guy can spit out verbal fireworks like it ain't no thang. Some surprisingly dark themes and a whole bunch of sleazy scumbags. Absolutely amazing.

Hooooly cow. This movie is as vivid, exciting and razor-sharp as just about anything I've seen. J.J. Hunsecker and Sidney Falco are such ruthless, amoral motherfuckers but they're such captivating presences that you almost find yourself gleefully rooting for their success - particularly Falco, whose unbridled ambition is palpable. This is the best movie Billy Wilder never directed. Captivating from start to finish, and an absolutely essential example of the Golden Age of Hollywood.

Phenomenal dialogue, acting and photography, and great use of the NY locations. Curtis and Lancaster portray the most amoral characters, the darkness of this film is shocking.

It's about two malevolent forces -- those who have power and abuse it, and those who don't, who pursue it recklessly -- and how they both overwhelmingly and unsympathetically cripple that which is good and honest. A very American tale, this, especially when you consider that media is the medium through which these forces inflict their agony.

"Tell him that like yourself, he's got the scruples of a guinea pig and the morals of a gangster." This just oozes cool. Not unlike one of my other 50's favourites, "Night and the City", "Sweet Smell of Success" explores the basic, human grind to survive, but also deals with power structures and the role of media. Draped in beautiful, chiaroscuro-heavy b&w imagery and anchored in great turns from Curtis and Lancaster, both equally seedy and conniving, it really is close to as good as it gets.

# 155

I've been wanting to see this film ever since I read a book by the director Alexander MacKendrick where he details how he and Clifford Odets completely reworked the script. This is a very talky movie, so it's fortunate that the dialogue is as sharp and enjoyable as it is. The acting really helps sell it as well. If you'd like to watch an hour and a half of shrewd people sparring verbally, you can do a lot worse than Sweet Smell of Success.

Scathingly witty writing; superb score; has a tastefully injected morality throughout. The premise is not to be missed; there's something refreshingly anti-American dream about it.