Regie:
George Roy HillDrehbuch:
David S. WardKamera:
Robert SurteesBesetzung:
Paul Newman, Robert Redford, Robert Shaw, Charles Durning, Ray Walston, Eileen Brennan, Harold Gould, John Heffernan, Dana Elcar, Jack Kehoe (mehr)Streaming (5)
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Chicago, 1936: Der charmante Betrüger Johnny Hooker, der sich mit zwei Komplizen auf Brieftaschen spezialisiert hat, gerät eines Tages an ein besonders gut betuchtes Opfer. Das Geld, das er ihm abnimmt, gehört jedoch dem Gangster Doyle Lonnegan, der einen von Hookers Freunden ermorden lässt. Nun sucht Hooker bei dem erfahrenen Edelganoven Henry Gondorff Rat, weil er seinen toten Freund rächen will. (ORF)
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Ja, ich weiß, dass es ein völlig anderes Genre ist und dass die Filme außer den Schauspielern und dem Regisseur nichts anderes verbindet, aber Zwei Banditen hat mir einfach besser gefallen. Der Clou ist ein guter Film, das leugne ich nicht. Er hätte mich aber noch mehr beeindruckt, wenn ich den Trick am Ende nicht gleich am Anfang erraten hätte. Ich war also nicht besonders überrascht… ()
Perhaps the film's screenplay is a bit too focused on creating an impact, and everything fits together so neatly that it gives the impression of being contrived. However, the charming directorial presentation makes this film irresistibly alluring, and not humming the title song even a day after watching it would be almost sinful. The duo of Newman and Redford shines, and without them, the film wouldn't even be a quarter of what it is. Every smile or line they deliver instantly etches itself into memory, and perhaps it would be enough for the film if those two just sat opposite each other and looked at each other. Despite the fact that at times, the pace could use a little more push, and in some places, the sharp edges of the "effect" could be refined, it still remains the most elegantly crafted "con film" ever to grace the silver screen, with minimal flaws and no major criticisms. ()
The forerunner of all overly complicated con flicks that can't stand a chance next to The Sting. Thanks to the twinkles in the eyes of Robert Redford and Paul Newman, we are left with only one question that is already answered – has the feeling of satisfaction ever been this great? ()
I don't tend to return to projects that I have rated with fewer than 4 stars. However, those with more stars are worth watching again, and as I observed a long time ago, approximately after ten years it is also suitable to rewatch a film because with increasing age we perceive some things differently. Usually, my memories deceive me and I end up giving them a worse review, but in the case of The Sting, even after a third viewing, I didn't have to change the smallest thing about my high opinion. The Sting is an elegant film, it has charm and style, and it's simply a pleasant positive ride that would work even if any other quality actors had been cast instead of Newman and Redford. It relies on an excellent script, a great retro atmosphere, and perfect filmmaking. Only in a minimum number of films can you trace such precise work by individual filmmakers' professions. I watch and admire the great camerawork, the musical motif, the fantastic casting even for the smallest roles, the work of the architect, and the great direction. This is simply a tribute to the art of cinema in its purest form. All those Ocean's Eleven films and countless variations of the same can get lost. Overall impression: 95%. ()
Overpopulated. While at least half of the characters are absolutely superfluous. They think they’re clever. But you can read them like a book at first glance. A star-studded cast. But Redford has no part to act and next to Newman and Shaw he clearly can’t keep up. Theatrical, obviously studio set, with errors of logic and who knows what else. And despite all of that, it’s entertaining with stylish ease that we don’t see much of today. Simply an Oscar-winning romp by a group of friends for the hell of it. ()
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