It stings a perfect balance between moods and strings, progressing effortlessly from the calm of strain A to the scattered turbulence of strain D. This piece is considered to be one of Joplin’s best works. However, in a subsequent transitional phase (D section), it modulates back from the subdominant to “C major.” There is also a subtle indication in the B section that the melody must be repeated on a higher octave. Although “C major” is the primary key utilized here, it modulates to “F major” for the C section (also known as “trio”). The composition is also dubbed as “A Ragtime Two-Step,” a popular dance form from the 1900s. Scott Joplin composed this classic ragtime in 1902 for piano. The Entertainer - piano & orchestral version It is crafted from multiple little catchy tunes, evoking a pulsing and shiny Caribbean dissonance. There is a hint of tango form, with its roots linked to Havana. However, “Solace” is not close to being more authentically Mexican than genuine ragtime. It is a four-minute “habañera,” a prominent example of Joplin’s musical hybrid. However, two “Jazz Age-style” tunes crafted by Hamlisch chronologically resemble the time period of the movie, rather than Joplin’s compositions.
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“The Sting” primarily evokes the ’30s gangster movie vibes. The end credits of the movie use Joplin’s “The Rag-time Dance,” featuring a “stop-time” motif. The middle portion of this track was utilized in an “escape” sequence in the movie. Also, some tunes used in the film do not feature on the album. Incidentally, the final card introducing the climax, titled “The Sting,” didn’t have any music. Their primary function was to link music over “title cards” introducing major sequences. Snippets of Joplin’s music appears in the album, albeit selectively. It was a prevalent practice with the vinyl LP records at that time. The sequence of the musical album took a different path from the actual film sequences, catering to aesthetics. Hamlisch incorporated Joplin’s original piano scores in multiple tracks in the movie, in addition to some orchestral arrangements. He successfully turned a corner, establishing his place among the “classics.” People may not listen to his song much, but they sing them to each other on occasion. They tend to turn up in anniversaries and tributes.
He is often criticized for focusing only on cheesy commercial music, but his songs always stuck around people’s lives. Marvin Hamlisch’s music was mostly aspirational, sometimes oozing with the odd sentimentality, but always memorable. Hamlisch came on board and took the idea further, crafting a musical gem that earned rave reviews. While planning for the movie, he decided to incorporate them into it, especially keen on utilizing the sense of humor they displayed. Hill had been a staunch admirer of ragtime, influenced by piano sessions of the same performed by his son and nephew. The album also comprises cover notes by George Roy Hill, narrating the background story. The resurgence of Ragtime Music at that time also helped it to gain widespread recognition. The composer Marvin Hamlisch has adapted multiple ragtime compositions by Scott Joplin in the album.
Gil Rodin was the executive producer of “The Sting’s” soundtrack album. The second narrative offers a pleasing pattern of reminiscent “bait-and-switch,” culminating with Gondorff and Redford’s characters being plugged.
The movie has a two-part narrative, the first one focusing on the card game between Newman and Shaw’s character on the train. Redford and Newman flourished in their roles as a pair of Chicago con artists of the 1930s, out to dupe an equally brilliant Robert Shaw, a racketeer. There isn’t too much attention to detail, but a touch of uncertainty regarding the fate of the protagonists successfully erects a degree of tension. Like all the top heist movies, the screenplay is intense and anchors a lightly toned drama. It’s actually a triple act if you consider the returning director, George Roy Hill. They reunited four years after “Butch Cassidy and the Sundance Kid,” a film that had established their dual act.
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In 1973, “The Sting” brought to the table a celebrated movie bromance - Paul Newman and Robert Redford, one completely free of manly swagger and machismo. It also boasts of another trump card, the pervasive brilliance of Marvin Hamlisch and Scott Joplin, who weave their magic wands to create quite a refreshing, albeit identifiable soundtrack. The heart of the movie is much more than a simplistic exhibition of distraction, a dramatic narrative that cajoles our sensitivity. The film’s brilliance is entirely decorative, and despite being a “con” movie, it offers a wonderful moral conjecture. It grabbed seven Oscars with an additional three nominations.
“The Sting,” an American classic, is one of the most enjoyable caper movies in the history of Academy Awards.
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