American Hustle: A Story of Us

Rating: 8/10 (10 January 2014)

People's first impression of American Hustle is usually geared towards the period detail; the polyester, the disco, the hair etc. What first came to my mind after watching American Hustle (2013) (other than how great it was) was an essay I read in a political science course I took while in college. I cannot recall who wrote it but the crux of the paper tangentially connected mob racketeering to government national defense. If you are a small business owner in a mobtown, at some point a wiseguy is going to approach and say something to the ring of, "this is a nice establishment, it'd be a shame if something were to happen to it." From there, you're paying protection money so you don't get your legs broken by the guys who are "protecting" you and so you and your business doesn't get hassled by other ne'er-do-wells. The irony of course is you're paying an exorbitant fee for something you would have never "needed" if these wiseguys were to just disappear. The government, or so the paper continues, operates the same way.
In American Hustle it's easy to see how there might be similarities between government entities and organized crime. In this case the arm twisting wiseguy is overzealous FBI Agent Richie DiMaso (Bradley Cooper) who extorts con-couple Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) to help him bring down some bad guys. The problem is Richie's eyes are too big for his stomach as he starts by entrapping Newark mayor Carmine Polito (Jeremy Renner) then sets his sights on the entire east coast mob in one big glorious sting.
The acting all-around is superb with Christian Bale deserving special mention for his transformation into the shlubby Rosenfeld. With an elaborate comb over, a heart condition and a beer-belly to boot, Rosenfeld is probably the last person you would expect or want to be our hero in shiny armor. Yet underneath his laggard appearance, which took two herniated disks to create, rings the heart of a true mensch as well as the mind of a genius.
Also worth mentioning is the always amiable Amy Adams who, as with most female leads, is the conscience of the film. Yet there are many unexpected things about her role, not the least of which is her British accent. You can tell there are a lot of machinations on her mind not by her expressions but what isn't seen in her eyes and face. She's capable of not just playing a good hand but running the table, yet she chooses not to out of love for Irving. It's not an impractical love or a vacuous love but true commitment based on trust and sacrifice.
For better or for worse, the only solid foundation the audience can perch their assiduity is on the very real love of Rosenfeld and Prosser. Everything else is seemingly up in the air and kaleidoscopic punctuated by David O. Russell's patented controlled chaos. While the plot may be purposely murky and the unethical behavior of all involved is sardonic, there is a sense that the couple will end up alright in the end; even if there are so many people out to use them. Hurray for genuine, talented actors and striking character work. Without it American Hustle might have been a lesser version of Casino (1995) but ends up being in a category of its own. Like a delicate mix; a confidence story with the heart of The Sting (1973), the feel of Goodfellas (1990) and the look of Saturday Night Fever (1977).
I won't ruin the ending of the movie but I do want to mention one insignificant scene that nonetheless encapsulates the movie's intrigues. In the scene DiMaso feels he has finally gotten what he needed. He sits in a room celebrating with colleagues while a recording plays on a large tape recorder on the desk. As the tape plays, you hear a man saying that he and his associates will bribe and intimidate anyone who stands in their way.
It's a golden moment for the FBI who had deceived, extorted and yes, even intimidated people to get what they wanted. It's a scene drenched in irony because it highlights that striking and ominous similarity between those who protect us and those we need protection from. With the news speculating over NSA surveillance and CIA drones, it's interesting to see a movie that dismantles and examines that paradigm. In the words of Frank Costello in The Departed (2006) "When I was your age they would say we can become cops, or criminals. Today, what I'm saying to you is this: When you're facing a loaded gun, what's the difference?"