What do
Sweet Smell of Success,
His Girl Friday (Howard Hawks, 1940),
Sullivan's Travels (Preston Sturges, 1941), and
The Searchers (John Ford, 1956) have in common? They are all among the critically acclaimed films that, among other honors, have been selected for inclusion in the
National Film Registry of the Library of Congress. And none of them received a single nomination in any category for the Academy Awards.
Sweet Smell is, of course, a wickedly cynical film about two of the most egregious anti-heroes, New York newspaper columnist J.J. Hunsecker (Burt Lancaster) and press agent Sidney Falco (Tony Curtis), ever to appear in a film. They make the gangsters of Francis Ford Coppola's and Martin Scorsese's films look like Boy Scouts. So given the inclination of the Academy of Motion Picture Arts and Sciences to stay on the good side of columnists and publicists, we might expect it to shy away from honoring the film with Oscars. But consider the categories in which it might have been nominated. The best picture Oscar for 1957 went to
The Bridge on the River Kwai (David Lean), a respectable choice, and Sidney Lumet's tensely entertaining
12 Angry Men certainly deserved the nomination it received. But in what ways are the other nominees --
Peyton Place (Mark Robson),
Sayonara (Joshua Logan), and
Witness for the Prosecution (Billy Wilder) -- superior to
Sweet Smell? The best actor Oscar winner was Alec Guinness for
The Bridge on the River Kwai, another plausible choice. But Tony Curtis gave the performance of his career as Sidney Falco, overcoming his "pretty boy" image -- in fact, the film makes fun of it: One character refers to him as "Eyelashes" -- by digging deep into his roots growing up in The Bronx. Burt Lancaster would win an Oscar three years later for
Elmer Gantry (Richard Brooks), a more showy but less controlled performance than the one he gives here. Either or both of them would have been better nominees than Marlon Brando was for his lazy turn in
Sayonara, Anthony Franciosa in
A Hatful of Rain (Fred Zinnemann), Charles Laughton in
Witness for the Prosecution, and Anthony Quinn in
Wild Is the Wind (George Cukor). The dialogue provided by Clifford Odets and Ernest Lehman for the film crackles and stings -- there is probably no more quotable, or stolen from, screenplay, yet it went unnominated. So did James Wong Howe's eloquent black-and-white cinematography, showing off the neon-lighted Broadway in a sinister fashion, and Elmer Bernstein's atmospheric score mixed well with the jazz sequences featuring the Chico Hamilton Quintet. Even the performers in the film who probably didn't merit nominations make solid contributions: Martin Milner is miscast as the jazz musician who falls for Hunsecker's sister (Susan Harrison), but he hasn't yet fallen into the blandness of his famous TV roles on
Route 66 and
Adam-12, and Barbara Nichols, who had a long career playing floozies in movies and on TV, is surprisingly touching as Rita, one of the pawns Sidney uses to get ahead. As a director, Alexander Mackendrick is best known for the comedies he did at Britain's Ealing Studios with Alec Guinness,
The Man in the White Suit (1951) and
The Ladykillers (1955). His work on
Sweet Smell was complicated by clashes with Lancaster, who was one of the film's executive producers, and after making a few more films he accepted a position as dean of the film school at the California Institute of the Arts in 1967, where he spent the rest of his career as an instructor after resigning his administrative position.
Sweet Smell currently has a 98% favorable rating on Rotten Tomatoes's
Tomatometer and an 8.2 rating on the
IMDb.
