"It's two in the morning and I don't know nobody." I saw Bob Seger in 2012 with my Dad, and Seger said onstage that line inspired him to write "We've got tonight". Dude did three encores, one of the best concerts I ever went to and a great night with my Dad. He and I didn't have everything in common on music, but Seger and Silver Bullet was one we always agreed on. Miss you, Dad.
This was one of the few quiet scenes in this wonderful movie that gave my brain a chance to relax and not try to understand all the plot goings on so much. George Roy Hill did a terrific job directing this.
Yes, your right, it’s a great scene as most of them are in the film, not much said but so much on show. Every time I watch scenes like this it just draws me in like I’m there. Brilliant.
She is the worst looking woman in Hollywood playing hard to get with the best looking man in Hollywood. I find it hard to believe she was supposed to SEDUCE HIM. She must be the producer's niece
Dimitra Arliss was told not to change her facial expressions in this scene. In fact she's a dead ringer for Virginia O'Brien, a marvelous actress who was known as the 'Great Stone Face' because of her dead pan persona. When she had her first audition, O'Brien was so terrified that she didn't move. The studio thought that she had blown it, but the audience loved her, and she continued to act that way. I have to believe that Director George Roy Hill patterned Arliss's character after O'Brien.
Yup. Just show up at the door out of the blue, having just met and barely know her. Works for me too, every time. ;-) And if she had said no, there was always Mrs. Hilliard. ;-)
I personally feel Pitt learned a lot of mannerisms from Redford. Having grown up in the 90s, I was a great fan of Pitt... Then one day, I watched "The Spy Game" in which both Pitt and Redford starred... found out that Redford gave him a big break in his movie "A River Runs Through It" and man, I fell hard for Robert Redford. I have watched every movie of Redford ever since ❤ Now I see so much of Redford in Pitt honestly.
Pitt probably got hired in a few movies early in his career because he somewhat resembled Redford just as Russel Crowe probably got hired in a few movies early in his career because he somewhat resembled Newman.
This part was kinda unbelievable in the context of the story. She wouldn't let him in if she was intending to kill him and sure as hell wouldn't sleep with him. She would be worried her cover was blown. And Johnny wouldn't be doing anything that could distract from or risk the big con he was working.
Yes, she would. And yes, he would. Let me explain. Salino, posing as the waitress, had already "helped" Johnny escape from Lonnegan's guys (who were unaware that he and his "Kelly" persona were one and the same). She didn't know he would show up at her door, of course, but once he did, taking him in was the best possible way to (a)keep track of him, and (b)get his trust so that he would be completely off his guard. Makes me think of the Bogart line "But he'd have gone up there with *YOU,* baby. He was _ just _ dumb enough for *that."* As for Johnny, he had just agreed to betray Henry to the FBI, and it was weighing him down and breaking his heart. Or at least, so we think at this stage. In any case, from what he says to Henry about Luther just before the last stage goes into action, it's clear that his nerves are on edge. He's been drinking, he has just dodged death (again), and she's the girl who helped him do so. Drink and a girl and the lonely hours of the morning _ he's not the first. And it suits her down to the ground to have the target walk so willingly into her clutches. Just my opinion, but it all makes sense to me.
The costume designers and make up before the Godfather were a joke. Redford's hair is so 1970s and having a shirt with the top 3 buttons unbuttoned is so unauthentic.
Also that metal number 3 on her door is totally local hardware store early 70's, it should be simple and rounded if this is the early teens. They still make those- home depot has 'em.
@@oreokookie1000 I guess you're not well-versed in the architectural styles that were popular in turn-of-the-century America. Art Deco, Victorian, Federalist, Greek Revival...all were found existing side-by-side back then.
@@seikibrian8641 I am, the movie sets were very excellent..my mom thought so, she grew up in 1930's chicago....my favorite epoch is the 1970's, and its fun to spot little slips like that (redfords unbuttoned shirt!)
@@oreokookie1000 Hardly a "slip." He was playing a man not used to wearing suits, who was wandering the streets at 2AM, and who had been drinking; exactly the kind of person who would unbutton his shirt on a warm, humid night.
Yeah, I remember the Mad Magazine I had that parodied this movie (back when Mad Magazine was good), and there was a cartoon panel that showed 2 window panes in the background, the first one said "Music By Scott Joplin", the second one said "Exploitation By Marvin Hamlisch". I always remembered that. Hamlisch died some years ago, and I hate to speak ill of the dead, but he did ride on the coattails of a TRULY great musician, unfortunately. But at least it did awaken an appreciation on the part of many (including me) of Joplin's music afterwards.
@@graytonw5238 He was a very good musician, however, I have worked with him, he deserved it for other movies. He is one of only two people ever to have won an Emmy, a Grammy, an Oscar, a Tony, and a Pulitzer. For me the worst part of it was that Ragtime was turn of the century music, Joplin died in 1906 I think, and The Sting was 1936, off by more than 30 years. That would be like using Glen Miller for a movie about 1980. If you're going to do a period film why be so far off with the music when it would have been just as easy to get it right? They should have been using the Dorsey Bros.if you're going to steal from somebody. Maybe the idea was to go with someone whose copyright had expired.
@@davidmdyer838 Agreed on the anachronism of the music being used for that time period, and it was the same with anachronistic elements used in Butch Cassidy and the Sundance Kid (the other Newman/Redford collaboration). One thing about Hamlisch that always put me off about him though was when he was a guest on the Mike Douglas show along with Tom Waits and a couple other guests. Douglas was talking to Waits and every time the camera shifted to Hamlisch you could see the look of disdain, maybe even disgust, on his face. Granted, Waits was never the "refined" type of guy that Hamlisch was, but he was and is a damn good musician, and it bothered me that Hamlisch appeared to be looking down on him. He may have been a great guy though and they just caught him on a bad day. No disputing Hamlisch's musical talent.
No... the 'vibe' would have been overdone......don't forget this movie is about an elaborate con in the time of Vaudeville and Al Capone...Speak eazy's and Prohibition
