Far from a sports film, 'The Hustler' has its own place in film history

Rating: 8/10 (25 May 2013)

Calling "The Hustler" a sports drama would be a gross mis-categorization. Outside of the film's first hour, you barely even see the action on the table. Director Robert Rossen understands that how "Fast" Eddie Felson (Paul Newman) wins or loses matters nothing compared to whether he wins or loses, and what the consequences are for the character.
Based on the book by Walter Tevis, Felson is a pool shark who has been traveling all over the country with his partner and "agent," Charlie (Myron McCormick) hustling dopes in pool halls and walking out with a lot of cash. He then decides to go after the legendary Minnesota Fats (Jackie Gleason). After taking Fats for $18,000, he lets his pride (and more notably his alcoholism) get in the way and he loses everything right back.
Trying to get up on his feet again, Eddie meets Sarah (Piper Laurie), a fellow alcoholic, and the two are inescapably drawn to each other despite their vices (and knowing nothing about each other). Their relationship is a roller coaster, but they seem dependent on each other for support. Eventually, Eddie sees a way back up with a new backer in Bert Gordon (George C. Scott), but it could come at a price.
Newman's charisma practically twinkles in this performance that you can't help but be impressed. Of course the trajectory of the character removes that twinkle very quickly, but not in any way diminishing Newman's work. The character is a classic '30s-'40s character, a man with potential he throws it away all too often to booze and has a quick temper. Fitting then that Rossen filmed in black and white (the reason this film has two instead of zero Oscars). Rossen's character-centric storytelling echoes the best directors of the '30s and '40s as well. You could almost argue it's the last great film of that era rather than a great one of its own, but using "neo" would probably be a better fit.
Unlike a "sports drama," Rossen's script (written with Sidney Carroll) does an incredible job of only saying what needs to be said. "The Hustler" can be a little tough to follow sometimes because it leaves out the more expository dialogue, but the script ends up sharper for it. Scott's Bert is a force in the final leg of the film the way he engages the themes of winning vs. losing and what it means to have character. Newman also impressively navigates the whirlwind of his character to hit on the more thought-provoking notes of the script.
Laurie also has some navigating to do as Sarah, also a character who could easily slip into the mold of the '30s-'40s love interest who lets herself get pushed around by her out-of-control beaux. At times she does, but she shows a certain resilience and independence uncommon of female characters, even in the '60s. The added complexity of her own vices and problems is also impressive. She gets some great dialogue too and really takes command of some of the scenes with Eddie and Bert.
"The Hustler" lacks in suspense, something you wouldn't expect from a drama centered on a gambling man who risks it all, but it makes up for it in character as well as themes and ideas that even contemporary films centered on a sport or game almost never consider taking on.
As much as "The Hustler" echoes the past, nothing has truly followed in its footsteps since, discounting the sequel, "The Color of Money." It has its own place in film history and cannot be grouped or categorized with many other films both in terms of the era it was released in and in terms of genre. In some ways, that makes it a classic by default.
~Steven C
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