Can I Dare to Call The Hustler (1961) a Film Noir Classic?

Rating: 10/10 (15 June 2007)

After many weeks of back-listed waiting, I finally received Robert Rossen's classic 1961 "The Hustler" on DVD. It was definitely worth the wait. The film is better than I remembered it to be; that is a real rarity. Not only did the "main" actors (Paul Newman, Jackie Gleason, Piper Laurie, George C. Scott) put in stellar performances, but none of those playing the "lesser" roles fell even remotely short of what should be expected.
I really admire Paul Newman's entire career as an actor, and also his truly exalted status as a great citizen who has given back more than anyone can expect. This lead-actor "Hustler" role is now universally recognized as the one which propelled him into the top echelon; his successful career was truly launched in 1961.
But, for me, Jackie Gleason is _the_ memorable actor in "The Hustler". Gleason played this role with quite amazing understatement. His performance was totally foreign to his usual brash, comedic, wise-guy persona, and that takes a _great_ actor. I believe Gleason was never honored enough for it; he did receive Best Supporting Actor nominations, but, as far as I know, never garnered those awards.
Gleason was so cool, so smooth... He presented an iconic presence that, I think, completely dominated every scene in which he appeared. From now on, Minnesota Fats will forever be remembered as looking, moving, and talking just like Jackie Gleason. The (estate of) the real Minnesota Fats should be proud.
On the larger scale, I think "The Hustler" should be considered a film noir classic, although I have never seen any reviewer mention that aspect. But does not "The Hustler" possess many film noir characteristics? Cinematically: The blues-jazzy filmscore. The black-and-white medium, with many dark scenes lit by one source only. The lack of exposition, leaving the viewer to squint, think, and wonder about scene meanings...
Characters: Dark and flawed (except, perhaps, for Gleason's Minnesota Fats). Every character pulls the wise-guy quips, in more-or-less failed attempts to conceal their real natures. Even the "hero" role of Paul Newman is really quite obviously bent, in many respects. Fast Eddie Felson may logically be considered an "anti-hero".
I admit the usual noir factors of the "false" and "real" facades are missing, but to me that is minor. There is no mystery here, just true character development in the search for winning... at the game, and in life overall.
I am not a film noir expert, by any means; I am just beginning my collection and study. But, currently, I cannot think of any film as late as 1961 which truly belongs to this genre. Many recent films, of course, pay direct homage to the noir ambiance; "Dark City" comes immediately to mind. But, if we admit that the true film noir movement is decades dead, then "The Hustler" may be one of its last masterpieces.
I don't think I am watering down my "10" ratings by awarding "The Hustler" one also. This is just a perfect, classic film.