User reviews

Wanted to point out that the 1967 20th Century Fox film The Film Flam Man starring George C Scott and Michael Sarrazin has never see digital media. No laser discs were ever made, and now in its 14th year, no DVD either. This wonderful panavision comedy, and cast along with an excellent soundtrack by Jerry Goldsmith is just crying out to be made in 5.1 surround and 2:35.1 widescreen. All prints on TV are purple in texture, and the VHS, though as good as we can get now, is full screen. I have heard rumors that AMC has run this film in widescreen. But AMC doesn't reach all the populace in every region on cable TV. I have written many letters on different forums and also to Fox themselves, but never a peep from the studio when a DVD may be in the works. Can others help me and others like me, to get this gem on video in proper form??

One of those movies that's fun to watch over and over. An all around excellent cast headed up George C. Scott as the traveling con-man . Support by Harry Morgan, Slim Pickens, Strother Martin, Jack Albertson, Michael Sarrazin, Sue Lyon. Woodrow Parfrey and Alice Ghostley make this comedy/light drama film a classic. The con games played on Martin, Pickens and Parfrey are truly great as well as the car and truck chases. You can't help but like this picture.

An aging con artist teams up with an Army deserter to begin fleecing the locals of their hard earned cash. The flim flam man knows all the cons and he and his sidekick run several smooth operations; doing well until they have a run-in with the local constable. Their problems are a direct result of something that the older con man no longer believes in, but is still alive and well in the human heart. Good comedy even though it is dated.

Happened to be channel-surfing today and, how amazing!, came in on an early scene of this film (instead of one of the endless stream of advertisements and promo clips that pad their broadcasts) on American Movie Classics. Not letterboxed, of course (and WHY NOT?!!?, may I ask), so that director Irvin Kershner's Panavision framing was not part of the pleasure of viewing this pell-mell tale, scripted by the gifted William Rose. I don't know why I avoided catching this during its initial theatrical release, possibly because the trailers were somehow drab-looking (a fault of the cheap film stock commonly used at the time to advertise films shot in DeLuxe Color) and too frantic, the latter easily achieved when there's so much amazingly choreographed action for an editor to choose from.

Anyway, the cast, topped by George C. Scott, clearly enjoying himself in a bravura performance, includes Harry Morgan, Albert Salmi, Alice Ghostley, Slim Pickens...wow! What a roster!...and the lovely Sue Lyon (who, in one carefully lit shot looked like the ideal choice to play Joanne Woodward's younger sister in a movie one could imagine but that never got made before Ms. Lyon's retirement to, one hopes, a very happy marriage.) Michael Sarrazin acquits himself quite well, despite the formidable presence of Mr. Scott in full thespic throttle, and Jerry Goldsmith's music underscores the proceedings quite skillfully, including his use of a harmonica (which I usually find somewhat off-putting.) My only complaint, as an enthusiast for Detroit products of the past, is the merciless destruction of that bright red Plymouth convertible as it careens through a town left devastated in its wake. That particular sequence packed more eye-popping excitement than all of the more recent destruction derbies in the many so-called action movies in the decades since.

George C. Scott pulls out the player's whole bag of tricks to play the title role in The Flim Flam Man. This film is one rollicking good time from beginning to end as Scott is always thinking and fast on his feet even when in the clutches of the law.

When we first meet Scott he's at a rural general store showing the locals the fine art of three card monte. At that time he picks up young Michael Sarrazin who Scott takes under his wing, teaches him the tricks of the trade. But Sarrazin is a liability as he's an army deserter. That means he'll have military police forever on his trail.

Sarrazin also gets some romantic notions about the farmer's daughter, in this case Sue Lyon. She wants him to settle down.

The film is one laugh riot from beginning to end. In the supporting cast I have to single out Harry Morgan as the Wile E. Coyote type sheriff and Slim Pickens who gets taken good by his own greed.

My own advice to Sarrazin is turn yourself in and do your time in military prison before you embark on being a conman. Don't need those guys forever on your case. Or get into Canada and do your thing there.

The Flim Flam Man most definitely is George C. Scott's best role in one of his few attempts at comedy.

It's nice to see such an intense great actor like Mr. Scott delve into this type of lazy-style comedy. He's simply marvelous in a W.C. fields type role. Michael Sarrazin is decent and Sue Lyon very fetching. Albert Salmi is great as a deputy. Great cinematography. A 6 out of 10.

1967 was a great year for films and this was not at the top of the heap, but a pure pleasure dramady. Strother Martin shines in a bit role (one of our better characters who died too young). The mediocrity of the rural policeman is a joy to watch. Nicely-paced. George C. Scott should have done a few more like this! The poster is excellent and a fun script. Scott's unkempt dowdiness makes him all the more charming!

This film has long been one of my favorites, and I think it's just a crime that this wonderful movie is not on DVD yet! I mean come on, this movie was no small time production. It boasted a big name, George C. Scott, as well as a few other well-known supporting players such as Harry Morgan (Col. Potter on "M*A*S*H"), Strother Martin ("What we got here is failure to communicate" from "Cool Hand Luke"), Jack Albertson ("Willie Wonka and the Chocolate Factory" and "Chico and the Man"), and Slim Pickens (who also appeared with Scott in "Dr. Stragelove").

The story is quite amusing and wonderfully crafted: A slick con man way up in his years takes a young army deserter under his wing to teach him the tricks of the confidence game. The young man-gone-AWOL at first is taken in by how easy it is to sucker people out of their belongings by having the right props and a perfectly rehearsed act. But he begins to have doubts about the illegal and dishonest ways of his aging con artist mentor and decides that a life on the run is just not for him.

All in all, the film is an incredible light-hearted comedy/adventure complimented by a great musical score by Jerry Goldsmith.

As for a DVD release, I wouldn't even complain if the disc had no special features on it (commentary tracks, theatrical trailer, etc.). Just a widescreen presentation for 16:9 televisions would be plenty enough for me. I hope when 20th Century Fox looks through their film vaults for potential DVD releases that they don't overlook this one!

I would like to ask a question about the statue in front of the courthouse: Does anyone know who the person is that is represented by the statue in the scenes in front of the courthouse with Michael Sarrazin and Sue Lyon? I believe the courthouse is in Lawrenceburg, Kentucky. Would appreciate any information anyone would have. Saw the movie many years ago, but really enjoyed it. George C. Scott is good as he always was, plus I remember thinking that Michael Sarrazin and Sue Lyon were also good in their roles. It is a nice romantic movie for teens or really for anyone of any age. But it is probably pretty dated now, by today's standards.

George C. Scott's initial film performances were usually quite dark ones, such as the forceful District Attorney in ANATOMY OF A MURDER or the cynical billiard player manager in THE HUSTLER. In 1964 he showed that he could be hysterically funny and still a dark figure in the film DR. STRANGELOVE as General "Buck" Turgidson. Turgidson is able to suggest that a mistakenly ordered attack on the U.S.S.R. with nuclear weapons should be followed up by a real sneak attack to finish off the "Ruskies", but he is capable of also getting so carried away with his fascination and love of flying that he can picture the formation of the fliers on the mistaken attack as beautifully skillful and trained to avoid being shot down - until he realizes they have to be shot down. It was a wonderful performance, and showed that he had a great sense of timing and comic rhythm. But it was not until 1967 that Scott got a comedy role that was not so dark. So instead of being one of the madmen who cause the world to come to an end, he played Mordecai Jones, the ace con-man of the modern age, who shows his young disciple Curley how corrupt the world is.

Scott went to town here as the grifter, cheating the likes of Slim Pickens (with the found wallet trick) and Strother Martin with an expensive gambling game that Michael Sarrazin (Curley) learns how to play for the prizes. He also manages to make life difficult for Jack Albertson and Alice Ghostley, whose daughter (Sue Lyon)ends up romantically tied to Sarrazin. Finally there are the guardians of the law, Harry Morgan and Albert Salmi, always one step away from catching Scott and Sarrazin (listen to Morgan's ridiculous conclusion that the two grifters fled across a deep river with a special boat - you can never hear the word "amphibious" again without smiling). The film reaches a climax when Scott is accidentally captured. But will Sarrazin demonstrate he has learned enough about con-games from the master to rescue "Ole Mordecai"?

An entertaining comedy, and another worthy performance by Scott in his film career.

This was a great year for movies and I think this kind of got lost in the shuffle. The year was the summer of love and movies like this fell by the way side. I saw it when it was released so I was only ten yrs. old and thought it was a great movie. This had Scott as the title character who really had a ball doing it. The rest of the cast was top notch making this great all the way thru and it showed a South that has all but disappeared. Lots of action a great score by Jerry Goldsmith and the dynamic between veteran Scott and new to the movies Michael Sarrazin who held his own quite well and went in in the 60s and early 70s and made some entertaining movies then seemed to have just vanished. Does anyone know what happened?? He seemed to have IT and the studios kept paring him with the big stars of time. Fun, fast paced a must see for film buffs of that era.

This film has a bit of Keystone Kops, the Dukes of Hazard, and The Music Man, all wrapped into one. If I were casting it, it would never have occurred to me to cast George C. Scott in the lead; but he does a terrific job.

Anyone who has seen Patton,and enjoyed that and other performances of George C. Scott, should see this film just to marvel at the range and abilities of this classic stage actor. A strong supporting cast make this a delightful comedic romp by this giant of an American actor.

Although "The Film-Flam Man" precedes "Smokey and the Bandit" by ten years, that is the type film I would identify this with. It is definitely lively, with grifting being the main subject that drives things forward. In addition, like the "Smokey" movies, there are car chases, moonshine, and plenty of frustrated cops. George C. Scott's character is what lifts "The Film-Flam Man" to slightly above average. The scams are definitely the best part of the film, with Michael Sarrazin's love interest and the car chases filling the remaining time between cons. Although dated, the "Flim-Flam Man" is watchable for Scott's performance alone. - MERK

Here's another movie I thought was terrific 40 years ago but now don't exactly look at it in positive terms. The film didn't change: I did.

Maybe after watching thousands of movies since then I got tired of seeing people mocking the clergy, or pretending to be a minister so as they could rob, steal and whatever. It's the same message wants the film world always wants to deliver: clergymen are corrupt, and don't trust them. In this case, the "minister" robs a family of its car.

This year - 1967 - was a landmark one in that the old moral codes were thrown out the window. There was no profanity in this film but it did continue what had been coming since the beginning of the '60s: the age of the anti-hero. In this film, we are supposed to root for a con man (George C. Scott) and his young assistant (Michael Sarrazin), who make a living by lying and cheating people. That's supposed to be funny, I guess.

I saw this film on AMC a while back and fell in love with its charm and hilarity. The film is about a runaway teenager and a seasoned old "crook". The movie is very funny, with one great scene linked to the next one. Directed by Irvin Kershner (Empire Strikes Back). Here, he shows a flair for staging complex set pieces and good comic timing. George C. Scott, always great, seems to be the perfect choice as the old con-man. As playful as this film is, there are some tender moments between the characters, adding some heart to an already fun movie. I hope this movie becomes more widespread in the future, since I feel so many are missing out on this one!

This movie was so good, I hunted down the next scheduled airing on TV, and made sure I recorded it. I've enjoyed it on tape ever since. Here's hoping for a future DVD!

I liked this a lot more than I thought I would. It's not a belly laugh comedy, it isn't a touching buddy film, notlr us it an action packed adventure film. It does have elements of all three.

George C. Scott gives a great performance. You fall in love with the old coot. The rest of the cast does an excellent job. Harry Morgan, as always is stand out, here is as the bumbling sheriff.

I've never seen a film wreck so many new cars. At least two were completely totalled. All Mopars - 1966 Plymouths and Dodges.

This was filmed in beautiful country. The scenery is just gorgeous. I think you will enjoy this offbeat film.

* In 1967 The Flim Flam Man was indeed a great movie about 2 con men working together with the older guy teaching the young guy the tricks of the trade. However while these 2 guys mainly stuck to the small cons such as the pigeon drop and punchboards The Sting in 1973 improved on this idea with the 2 main characters graduating from the small pigeon drop type cons to the big con.

Wry comedy-drama with an appropriately larger-than-life performance by George C. Scott. The great supporting cast includes Henry Morgan and Slim Pickens, excellent as always, plus Michael Sarrazin in a more animated performance than usual. Expert use of some off-the-beaten-path Southern locales. The script is quite perceptive in its view of mankind's flaws and foibles. A fun, slapsticky car chase, too. If you can convince your viewing companions to pass up the usual "New Releases" drivel and take a chance on this one, you'll be well-rewarded.

This is the end of the day. At the beginning of today, I watched The Film-Flam Man. Before I began to write this review, I was jolted when I was reminded of having watched it. I hadn't thought about it for one second for the rest of the day. It's that kind of movie. It's forgettable fun. That's fine. It's a good movie. It has its laughs, and fun cons, but it offers not one thing we haven't seen before, and by before I mean before 1967, not to mention after. I find George C. Scott to be a lot of fun, but only for the duration of the film. He doesn't stick afterward.

As I said, the cons are fun, especially for me, a big big big fan of the con/heist subgenre of movies, but the story is hard to get into it at all. And really, if you can gyp people left and right with complete confidence, then you sound like a good film-flam man, but if the whole town is looking for you because you rampaged a freshly stolen shiny red convertible through it, totaling everything in sight all the way across the community, are you really that good at what you do? I mean, with this kind of recklessness, why are you a con artist? If your getaway is this sloppy and conspicuous, to say the least, what's the point of fooling people? You might as well rob banks and break into houses. But The Film-Flam Man is a comedy, so perhaps that's its loophole.

For more memorable and exciting entries in the heist/con genre in the 1960s, search out these titles: Gambit, Topkapi, Grand Slam, The Italian Job, Ocean's 11, and many others. In fact, check Michael Caine's filmography and look at virtually 90% of what he was in in the 1960s.

You don't have to be an expert on film-making to think a movie is great. Sometimes it is personal. Objectively the Flim-Flam Man is a mediocre film. To its credit, it has a good plot that is funny, educational (for con-artist wannabes), and full of some of the best character actors of the mid-20th century, such as Harry Morgan, Albert Salmi, Alice Ghostley, Slim Pickens, and Strother Martin. Personally, I like it a lot because I saw it in college with my best friend and we both got a crush on Sue Lyon. With nothing but my subjectivity to base it on, I will admit that this is one of my favorite films of all time. Chacon a son gu! Objectively, George C. Scott was just okay, Michael Sarazin was very good and Sue Lyon rather shallow, but lovely. I've probably seen it 7 times, including twice while it was in the theaters.

George C. Scott was a genius actor. While far from handsome, he delivered many mesmerizing performances...and "The Flim-Flam Man" is clearly mesmerizing solely because of his top performance. As for the rest of the film...it's just okay.

A soldier AWOL from the Army (Michael Sarrazin) meets up with a famous grifter (Scott). Soon the old grifter takes the young guy under his wings and they form a partnership. Soon, they are stealing right and left throughout the county. What's next? See the film.

It was interesting that Michael Sarrazin received 8th billing...but was the star of the movie, along with Scott. But his character was very problematic...inconsistently written and with an ending that simply left me wondering WHY the character acted the way he did, as well as the girlfriend and her father. It was like the writer came up with a general idea and they started filming before they worked out every detail. Not a bad film, but it sure could have been better considering it was a Scott vehicle.

William Rose adapted Guy Owen's novel about a con-man down South who gets himself and his young accomplice into hot water. Uneven direction by talented filmmaker Irvin Kershner, who curiously keeps changing the movie's tone and focus--resulting in scenes that either play too fast or too slow. The outright slapstick takes a while to adjust to, though it's far preferable to the dull sub-plots, such as the budding romance between Army deserter Michael Sarrazin and lusty-eyed "good girl" Sue Lyon. George C. Scott gives a surprisingly jubilant leading performance, and the location shooting throughout Kentucky is flavorful, but the story isn't intriguing or satisfying. ** from ****