The US Supreme Court’s decision on 1948 Anti-Trust case is one of the pivotal moments in American cinema that marked the beginning of the end for the prodigious Hollywood studio system. The verdict declared on 1948 found seven big studios of violating anti-trust law and this subsequently gave breathing space for independent producers to fairly compete with movies made from major studios (before the verdict the studios had total control over movie distribution and in blocking theaters). And, the witch hunt unfurled by House for Un-American Activities (HUAC) along with Hollywood blacklist stirred the independent film-makers to shed light on the taboo and dark subjects. Film historians’ note that the blistering satires, made in the late 1950’s, infused with thematic preoccupations of film noir, wouldn’t have been possible in the studio system. Alexander Mackendrick’s unrelentingly dark classic “Sweet Smell of Success” (1957) is one such acerbic examination of power, overweening ambition and the American Dream. The film has two of the best characters in the history of American cinema – JJ Hunsecker and Sidney Falco.
“Sweet Smell of Success” is about a doomed man hopelessly
trying to evade the monsters that lurks in the dingy corners. And, yes that
narrative structure very much lands the film in noir territory, although the
noir mode in “Sweet Smell of Success” is more caustic and cynical. The movie
has no heroes/anti-heroes or femme fatales, for whom we root for, despite their
damned status. It never masks its evil face, which is all about the dynamic,
complex relationship between a manipulative egomaniac and a despicable
sycophant. The narrative is clear-cut about its primary characters’ ambitions
and there are no syrupy last minute redemption. There’s a Lars Von Trier quote
that goes “There are more images in evil. Evil is based far more on the visual,
whereas good has no good image at all”. It somehow rings true, especially while
looking at the towering performances provided by Burt Lancaster and Tony Curtis
as the central dark figures. There are few emblems of innocence in the film,
who are either relegated to supporting characters or less dynamic and
uninteresting.
The plot is very simple, but the God (or devil) is in the
details. A smarmy press agent Sidney Falco (Tony Curtis) makes a living by
getting his small time clients into the columns penned by hideously famous JJ
Hunsecker (Burt Lancaster). But, lately Hunsecker is ignoring Sidney’s clients
in the column, since Sidney haven’t done what’s asked: to break-up the relationship
between Hunsecker’s caged Sister Susie (Susan Harrison) and a righteous jazz
musician Steve (Martin Milner). Until it is done, JJ has decided to turn
Falco’s life into a living hell. The narrative tracks how these two mean
individuals use their charmful venom to separate the lovers. To better
understand the character nature of JJ Hunsecker, one has to comprehend a time
in newspaper history, where few columnists and their opinions single-handedly molded the public opinion. Even within the unrestrained freedom given by
today’s social media, we can witness few opinioniative individuals, conjuring
baseless rumors to smear people they hate. Nevertheless, the power wielded by
the likes of Hunsecker is colossal because they could reach between 6 million and
60 million readers, and could use that power to either make a man or bury him.
JJ Hunsecker’s character was based on the real-life feared columnist
Walter Winchell (similar to the way William Randolph Hearst influenced the
character in “Citizen Kane”). A little slur in one of Winchell’s columns is
said to have brought career suicides to many.
Winchell was a staunch supporter of Senator Joe McCarthy and safely kept his
list of enemies. The man could call in favors from Edgar Hoover (first director
of FBI) as well as from the underworld. “Sweet Smell of Success”, written by
Clifford Odets (based on Ernest Lehman’s novelette – Lehman worked as press
agent before turning into a screenwriter) distinctly sets up the complex
relationship between Hunsecker and members of law and government. In the
opening shots of “Sweet Smell of Success”, we see a delivery van cruising
through neon-lit Broadway streets of New York and dumping the late night
newspapers on the side walk of Times Square. It is a definitive opening that
quickly moves on to showcase the alluring world of Manhattan at night and
subsequently the comments on all-powerful nature of column writing pugilist JJ.
Through Sidney’s fears, the stature of JJ is hyped up. Then, comes the
impactful full-scale close up shot of JJ and the conversation that ensues makes
all the hype worthful.
“Sweet Smell of Success” possesses overwhelming lines of
quotable dialogues and punch lines. Some may question the realism behind JJ
spewing out punchlines at every moment & turn, but I felt the movie is all about the 'hype' and big, empty words. It is
the element that drives news selling capability and one that keeps JJ smarter
and quicker in forming opinions. In the diner scene that introduces JJ
Hunsecker to viewers, the devilish punchlines builds up to an intense,
threshold point that the senator sitting opposite to JJ says “Why is it
everything you say sounds like a threat?” That entire sequence wonderfully sets
up the character of Burt Lancaster, who despite his claims of friendship
remains starkly unattached (may favorite lines in that conversation: “Match Me,
Sidney”; “Everyone knows about Mr. Manny Davis, except Mrs. Manny”; “You’re
dead son, bury yourself”). Later, in the Manhattan foot path, JJ inhales the
petrol fumes and looks at the glitzy streets, clearly articulating “I love this
dirty town” with a good insistence on the word ‘dirty’. The Manhattan mise en
scene (composed of dive bars, backstage and jazz joints) plus the
passive-aggressive assaults of JJ exhibits the idea of success in the city,
which has twisted the meaning of loyalty and truth.
The world occupied by Sidney and Hunsecker is full of fake
virtues that the sweet talks are often juxtaposed with hissing threats. It
shows how the insidiously powerful affects the moral scruples of their
subordinates. Tony Curtis’ Sidney is somehow nagged by his conscience, but
since he is stuck outside the power circle of JJ, he feels that only by
becoming a victimizer one can embark into that circle. What’s disturbing about
Sidney’s behavior is how much he believes in JJ’s cockeyed methodologies to
attain economic stability plus the noble element of democracy – freedom of
expression. The bustling aesthetic sense construed by director Alexander
Mackendrick and masterful cinematographer James Wong Howe paints the night life
in Manhattan with brash strokes (there’s lot of marvelous tracking shots),
mixing up the beaming lights, noisy vehicle horns and jam-packed street
corners. The static, interior shots perfectly pins the characters while they
lambast at each other with words. The quiet intense performance of Burt
Lancaster is the perfect example for actors or cinephiles interested in
learning about ‘subtle menace’. Tony Curtis (often banished to do ‘pretty boy’
roles) flawlessly conveys the brutal energy of Falco, always remaining on the
edge for every gossip or for a little ounce of hope.
Trailer
“Sweet Smell of Success” (96 minutes) is a timeless classic
that deals with labyrinthine ethical choices faced by people, who are guided by fear,
greed and unbridled ambition. The immaculate sheen and the poisonous words of
JJ Hunsecker would ring like a siren in our mind, long after the narrative
fades to black.
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