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If you have any questions, you are always welcome to contact us. We'll get back to you as soon as possible, withing 24 hours on weekdays.
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All questions about your order, return and delivery must be sent to our customer service team by e-mail at yourstore@yourdomain.com
Sale & Press
If you are interested in selling our products, need more information about our brand or wish to make a collaboration, please contact us at press@yourdomain.com
From Melville to Madoff, the Confidence Man is an essential American archetype. George Roy Hills 1973 film The Sting treats this theme with a characteristic dexterity. The movie was warmly received in its time, winning seven Academy Awards, but there were some who thought the movie was nothing more than a slight throwback. Pauline Kael, among others, felt Hills film was mechanical and contrived: a callow and manipulative attempt to recapture the boxoffice success of Robert Redford and Paul Newmans prior pairing, Butch Cassidy & The Sundance Kid.Matthew Specktors passionate, lyric meditation turns The Sting on its head, on its side, and rightsideup in an effort to unpack the films giddy complexity and secret, melancholic heart. Working off interviews with screenwriter David S. Ward and producer Tony Bill, and tacking from nuanced interpretation of its arching moods and themes to gimleteyed observation of its dizzying sleightsofhand, Specktor opens The Sting up to disclose the subtle and stunning dimensionssexual, political, and aestheticof Hills best film. Through Specktors lens, The Sting reveals itself as both an enduring human drama and a meditation on artmaking itself, an ode to the necessary pleasure of being fooled at the movies.
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