My chum Tim and I watch a film every week, taking it in turns to pick. The only catch? Each film has to be linked to the previous one by a shared actor. We’re on the hunt for classics we’ve missed, hidden gems and films to reappraise now we’re, uh, getting older.
We watched All is Lost, which is pretty much how I felt while watching it.
We’ve been in a Robert Redford season for a fair while. Now, there are still a few films of his we’d like to tackle, but it also feels like the time to move on and perhaps circle back for another pass. With that in mind we had a bit of a think about where we wanted to go next (meta-gaming!).
Most of the ‘seasons’ we’ve tackled have been based around a male star (Sarandon Season being the only exception so far), so a Jane Fonda season was quite tempting (and gave us a few options to pick from to start it off). But… we got into Redford after a brief Paul Newman season. So perhaps this whole thing could merely be an interlude in a longer Newman season… Also, Tim really fucking loves The Sting.
The Sting and me
I think I’ve only seen it once before. I saw it after having seen Butch Cassidy, and although I enjoyed it my overriding memory is that it’s a poor relation. But then my memory of Butch Cassidy was slightly harsher than it needed to be too, so all bets are off. In recent years I’ve thought about The Sting more because of this brilliant hit piece on some terrible copywriting than anything else. So I’m looking forward to reappraising.
The Sting (1973): Two grifters team up to pull off the ultimate con. 8.3 stars.
I’ve been a bit hard on Robert Redford recently while we’ve been slogging through some of his more mediocre films. We haven’t watched All The President’s Men as part of CRFC, which is a flat-out doozie. Butch Cassidy and The Great Waldo Pepper seem like distant memories. But the thing is, Robert Redford is fine. He’s horrendously handsome, like tooth-achingly good looking. His charisma bubbles over. I suppose someone like Ben Affleck is probably a good touchstone. He’s fine. I find myself not that interested in much of his work, but occasionally there’s something that crosses over.
Nowhere is this more apparent than in The Sting. We start off following Newman’s small-time con artist who gets in a little too deep. Eventually we’re introduced to Paul Newman, an old hand at the big-time con. And then, when they’re setting up their big score, we see the magic. Paul Newman must pretend to be a boorish drunk at a high-stakes poker game. And there it is. Robert Redford is a distant memory as Paul Newman shines. It’s like if Ben Affleck was acting opposite… I dunno, Paul fucking Newman.
Redford has the lion’s share of the screen time here, but this is the Paul Newman show. In Butch Cassidy they felt a bit more evenly served, Butch and Sundance sparking off each other wonderfully. Here they’re kept separate a lot of the time, and it’s Redford who suffers. I mean, he’s fine. He’s absolutely fine. He does a bang-up job. And the film is great too, zipping along nicely. But when it’s all over I just want to watch the scene of Paul Newman being a boorish drunk over and over again.
He’s an absolute master.
If forced to only watch one of the Newman/Redford films again, I’d pick Butch Cassidy and the Sundance Kid. But I hope I’m not forced.
Well. That’s definitely it for Redford season. Paul Newman has charmed me utterly, and despite watching a few mediocre ones in our first Newman season, I’m feeling pretty excited about delving into his back catalogue again.