A magnificent trio in a wonderful classic

Rating: 10/10 (22 February 2003)

"The Hustler" was criticized by Variety when it came out for being too realistic, making it boring. If that was true at the time (and judging from the Oscar nominations, I would have some doubts), it's what makes it endure so well. This movie is smooth, nothing seems dated. The acting isn't theatrical or too "Method," there are no big moments where someone flips out. Made today, this movie would be just as good, although I wonder if someone would have the patience just to let things be, the way Rossen does here.
The opening sets the tone: the opening music behind the freeze-frame credits. The score by Kenyon Hopkins, who hasn't done much more than "12 Angry Men," has a stressed yet sleepy, jazzy style and a minimal quality. The movie is similar. It's quiet and forceful. The actors make use of the lack of words, and make the best of the words when they have them ("You owe me money!").
Of course, it doesn't hurt that all four of the main characters are terrific. It's where Newman, in one of his greatest anti-establishment roles, became a truly respected actor and not just someone from the Actors Studio who looked good in an undershirt (he still does). He's like a more human Marlon Brando -- not as volcanic, but more realistic.

For the supporting players, Scott, as the man who wants a piece of Fast Eddie Felson (Newman), the hot new kid, is at his very best (early in the film he makes moving a chair seem utterly compelling). Gleason, as the legendary Minnesota Fats, has few words (and making appearances only at the opening and closing, his performance is almost like an extended cameo) but that makes him all the more memorable. He doesn't need to talk -- this guy's got tenure (he's also the film's heart and soul). Piper Laurie, as Sarah, Eddie's girl, is partly a mystery. She's an alcoholic and she has some troubles, but we don't know much else about her. Her interactions with Newman are superb and their relationship grows believably; by the end of the movie (well, not quite the end, I guess), they're nowhere near where they began.
In the first pool game, we can't help but smile when we look at Newman. He talks tough and because of it we expect him to lose. Throughout the film he has some looks of disappointment that are genuine and perfectly timed.
Eddie's partner, Charlie, adds something to the film, as well. We don't know exactly how to feel about him. Does he think of Eddie as a son or as someone to generate money? He's getting old and would like some financial security, but he's not a bad guy. He's not vicious the way Scott is. There is a really small cast at work here. The only other person I feel I should mention is James Findley, the rich Kentucky billiards player that Eddie goes to beat. He plays his character as an effeminate southerner and it worked well. He's an elegant (probably gay) man that gives the film a little something else.
Some of the personal moments between Newman and Laurie get longish, but with the appearances of Scott, the movie is immediately recharged. And sometimes it's enough to simply watch Newman -- the man couldn't look bad if he tried (the dinner scene - my God).
I don't know much abut pool or billiards, but through and through this movie had me convinced. The pool shots are handled well, and I liked that we are shown more the players' technique and their face as they shoot, rather than the trick shots themselves.
This is a serious movie -- for anyone who loved the poker scene in "The Sting" (which I see as a pleasant, but over-valued, crowd-pleasing entertainment that required Newman to do little more than strip down to his natural charm), this offers a more honest take. The hustles here aren't about a smile and a giggle, they actually mean something. The stakes are big here -- it's not just the money Eddie's playing for.
"The Hustler" is a hardboiled American classic and one to see in widescreen -- it will suffer on TV. If you're looking for a classic with some class -- business as usual -- here she is. "That's the way it's done."
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