The Cincinnati Kid

Steve McQueen's answer to Paul Newman's huge success with The Hustler isn't quite as good as the earlier classic; but it's still a damn fine movie. Poker is a fascinating game, and it therefore makes a great base for a film. The Cincinnati Kid capitalises on that fact and it draws all of it's excitement from the game at it's centre. The type of poker played in this movie is 5 card stud; and as a Texas Hold'Em fan, I was a little disappointed by this as stud simply isn't as good; but poker is poker, and 5 card stud is still an admirable base for a film. As implied, the film is at it's best when we're watching the action on the table; and it's easy to liken the structure of this movie to that of a disaster movie, in that it's central theme is the focus and the plot is then bulked out by human drama. The drama side of the story follows Eric Stoner (McQueen), a gambling man who's been honing his skills and working his way up to a game with 'The Man' (Edward G. Robinson). However, things are never that simple as when there's money involved; there's always someone willing to force it to go their way.

Steve McQueen makes a great leading man. His cocky swagger and charisma are always a delight to watch, but this combines with his off-screen personality, and when watching him I cant help but think about his big headedness when it comes to film billing and the like. However; he's not the star of this movie in my eyes, as it's Edward G. Robinson that takes that honour. Robinson is a fantastic actor, and one that rarely gets his dues when it comes to deciding the greatest actors of all time. Here, he adds great believability to his role as the top poker player and he ensures that the atmosphere around his player is one of confidence and authority. And that's how it should be - he is the man. The Cincinnati Kid is exciting throughout; but never more so than on the build up to it's conclusion. The ending is one of my favourite of all time, and Robinson's line shortly after the end stands up with the greatest lines ever written for cinema. While this film is no Hustler; it's still a damn good movie, and one that I hugely recommend. Especially if you're a poker player!

Five-card stud isn't played much anymore, but it's played for something like 30 hours in the final hour of "The Cincinnati Kid," a 1965 film directed by Norman Jewison and starring Steve McQueen, Edward G. Robinson, Karl Malden, Ann-Margret, Tuesday Weld, and Joan Blondell.

McQueen is The Cincinnati Kid, a rounder, someone who looks for poker action in various towns, and Robinson is a long-time champion, also a rounder. There were no casinos in those days, the '30s. The story takes place in New Orleans.

Robinson, as Lancey Howard, has made a few enemies in his day, notably Slater (Rip Torn, who in these '60s films reminds me of Bradford Dillman). Slater is determined that when Howard hits town, he loses to The Kid. Toward that effort, he bribes one of the dealers, Shooter (Karl Malden). The two men finally meet in a poker game, one which has breaks - you can't play nonstop for 30 hours. During one of the breaks, The Kid tells Shooter that he knows the deal is rigged and insists on a clean game, saying that he doesn't need help to win.

Subplots concern Melba, Shooter's gorgeous wife (Ann-Margret) who is after The Kid, and The Kid's romance with a local girl (Weld).

The poker game is great. It's tense and exciting, although the hands are statistically nearly impossible to appear in the same game.

McQueen does a lot with a little - a look, a stare, a smile, He was a master of subtle acting, plus he has natural presence and sexiness. He died way too soon. The versatile Robinson, who could be a down-low crook or a mogul, is charming and elegant here.

The location, the period, and the dialogue lend themselves to the atmosphere created. And the cast is terrific -- Joan Blondell as a replacement dealer, Jack Weston as a fellow player, Torn as the angry Slater, Ann-Margret in top form in looks and sex appeal, Malden as the frustrated Shooter - all are excellent.

Considered one of the best, if not the best poker movie of all time. It's also a wonderful example of how "action" can take place without car chases and bombs going off.

Norman Jewison's (`In the Heat of the Night,' `The Thomas Crown Affair,' `Fiddler on the Roof')1965 `The Cincinnati Kid' contains top notch location shooting in New Orleans and gritty dialogue (screenplay by Ring Lardner, Jr., `M*A*S*H*') that seems way ahead of its time.

The star power of this film is immense, with Steve McQueen portraying `the Kid' who is overly confident that he can beat `the Man,' Edward G. Robinson at his own game, stud poker. McQueen is ever confident while Robinson has seen it all and will not be surprised or scared by anything that he sees on the card table.

As in all great movies there is a very strong supporting cast in this film. Led by Karl Malden as `the Kid's' confidant, Shooter and a trio of strong supporting actresses, Ann-Margaret, Tuesday Weld and Joan Blondell. Ann-Margaret portrays Shooter's wife, Melba with great flair; she sees her husband as a loser and as a weakling. She openly commits adultery and talks down at him in front of anyone. Her characterization appears to be the role model for Fredo Corleone's wife Deanna, in `The Godfather, Part II.'

Beyond the obvious supporting roles is one of the best supporting/character players of all time, Jack Weston. He appears in many films in the 1960s and 1970s often as a person who gets in over his head with people and situations he cannot handle. In this movie he plays `Pig,' the first victim of Edward G. Robinson at the big card game. Pig thinks he is a pro but quickly and thoroughly gets gutted by `the Man.' Weston portrays a similar character in the original `Thomas Crown Affair.' Nobody sweats on camera like Jack. His type of adept characterizations can be seen in more recent settings, for example William H. Macy's `Jerry Lundergard' in 1996's `Fargo.'

Al in all this is one of the all time classics and by far is my favorite of any of the serious gambling movies such as `The Hustler,' `The Gambler' and `The Color of Money.'

Blah blah blah is the feelings I get when I see comments about this being McQueen's answer to The Hustler, the Newman film is firmly ensconced in the hall of classics and rightly so, but this is a different animal that stands up on its own two feet as a great film regardless of comparisons of leading men or films they respectively delivered.

"It's a pleasure to meet someone who understands that to the true gambler, money is never an end in itself, it's simply a tool, as a language is to thought"

Steve McQueen is The Cincinnati Kid of the title, a young man who has an enviable reputation as the pretender to the throne of the king stud poker player. Standing in his way of claiming the crown is the holder of said crown, Lancey "The Man" Howard (a wonderfully sedate yet dominant Edward G. Robinson), both men are in New Orleans for the big showdown across the card table.

The film does suffer slightly from a meandering script, though, because you can't help feeling that there is so much more to these characters that needed fleshing out before the big tense showdown arises. However, the cast and director manage to stere the film home with a glorious final third. Suspense and drama start to boil to the surface, the tight knit editing bringing claustrophobic clarity to the enormity of the game.

McQueen is perfect here, cocky and cool in equal measure, yet still infusing the role with stoic heart and honest endearment. Tuesday Weld & Ann-Margret are playing second fiddle in the acting stakes to a delightful turn from Joan Blondell (a little under used though), but both Weld and Margret bring their respective girls' traits to life, with Margret positively smouldering with femme fatale sex appeal.

Karl Malden is solid and safe, whilst Rip Torn gives an acting lesson in dialogue driven menace. Yet in all honesty it's director Norman Jewison who has the trump card here. Once the game commences, even those who know nothing about a good game of poker are firmly watching every frame, such is the intense way that Jewison has brought the finale together.

No cop outs here, a film about egos, ambitions and personal satisfaction is gloriously laid out for a very enjoyable viewing experience. 8/10

Well, I've always enjoyed poker; Steve McQueen and Edward G. Robinson are two of my all- time favorite actors and I thought Tuesday Weld and Ann-Margaret were two of the most beautiful women in their day.....so why don't I love this movie?

Don't get me wrong: I like it, but I should have liked it a whole lot more. It's a bit too slow, for one thing, becoming more like a soap opera in parts and the movie drags for much too long. The story doesn't have much spark until the poker showdown at the end of the movie. That ending is an excellent one, too, but one has to wait too long to get there.

Robinson is good to watch, as he almost always was in his great acting career. He plays the only classy person in the film.

Watching this late in December of 2009 on some high-def equipment, I discovered how beautifully-filmed this movie appears.

What has stuck with me all these years, since I saw it in the theater in 1965, wasn't the story but the title song by Ray Charles. I have never been able to get "The Cincinnati Kid" song out of my head.