The Hustler

Fast Eddie Felson is one of the all-time great anti-heroes. He is a drifter who is arrogant and has used many people in his life to get where he is. But when where he is is nowhere, he grows up. He learns the value of lost opportunity, and he gains integrity at a high price. It is worth a look for anyone who wants to see the redemption of a lovable curmudgeon.

The Hustler is a classic 1961 film about the shady pool halls of the post-WWII era. Anyone of the three main characters could fill the titular role, whether it be Paul Newman's up-and-comer, Jackie Gleason's man-to-beat, or George C. Scott's behind-the-scenes angle-shooter.

These three stars (all-Oscar nominated) carry the picture, both individually and collectively. The thirty-ish Newman is simply a revelation to anyone (me) who hasn't seen him act much in his prime. He perfectly captures the smooth, in control but on the edge persona of Fast Eddie, who has the physical tools, but not necessarily the mental skills to be a champion. Gleason likewise perfectly fills the body and clothes of Minnesota Fats, with a graceful elegance uncommon to a man of his size. Scott (who declined his Oscar nomination) could easily have been overshadowed in his role, but his subtle and shifty eyes and movements create a character that occasionally outshines his two huge co-stars.

The Hustler reaches its zeniths when at least two of these men are on the screen. The dialogue exchanges of Newman and Scott as they feel each other out crackle with intensity. Gleason and Scott ooze wary respect for each other; and Newman and Gleason combine admiration and competitiveness into one neat package from which the entire film derives its energy.

A film about pool sharks seems to demand brilliant representation of its colorful world. But French cinematographer Eugene Shuftan instead opts for black-and-white, which surprisingly works wonderfully. His Oscar-winning imagery particularly excels in displaying light and shadows, such as the sun streaming into smoke-filled billiards halls. Shuftan accomplishes an exceptional feat, using a monotone style to effectively paint vivid pictures.

Despite high achievement in so many areas, The Hustler suffers from Doughnut Syndrome: there's a hole in the middle. The pool scenes that bracket the story are very good, and one middle scene between Newman and Scott is the best of the film, but the romantic portion of the story flounders. The drifter Newman falls for a fellow drifter (Piper Laurie) for no apparent reason, other than alcohol and the fact that they're both alone. To their credit, they do acknowledge that their relationship is flimsy and depraved, but the movie squanders too much times on this wafer-thin story arc, rather than stick with what works.

Those parts succeed wildly, about as enjoyable as any scenes ever shot, but without adequate buttressing material, the film as a whole falls short of the high watermark left by its parts.

Bottom Line: Phenomenal at times, but subpar at others, the male performances carry the film. Seven of ten, but definitely worth viewing if you haven't seen it yet.

Robert Rossen carefully directs this film with every ounce of poise one can muster. There's not a dull moment within the entire picture. It's filled with exciting characters, fine editing and a compelling story that'll shock and thrill you. The cast is incredible, as to be expected with these names: Newman, Scott, Gleason, Piper Laurie and Murray Hamilton are crystalline in their performances.

This is, without a doubt, the closest anything out of Hollywood ever came to touching the soul of a pool player. Paul Newman plays "Fast Eddie" Felson, a young player from California who travels east to take on the ultimate challenge: to beat "Minnesota Fats," played by the late Jackie Gleason.

Willie Mosconi, probably the greatest pool player who ever walked the Earth, was technical adviser and choreographed many of the game sequences. On technical merit alone, this film is a pool player's classic. Beyond that, however, the way "Fast Eddie" takes to his skills and relationships pushes this film out as a classic for the general audience. In one scene, he is describing what it is like to be really good at something. It is one of the best speeches about excellence I have ever heard. This is one of my top three films. On a scale of ten, I give it an eleven.

I think "The Hustler" is the best sports movie ever made. Fast Eddie Felson is perhaps the most talented pool shooter in the country and yet, at his core, he's a born loser. Why is Eddie so self-destructive? He has Minnesota Fats, ostensibly the country's greatest player, beaten in the first marathon match only to drink himself into insensibility and let Fats off the hook.

Throughout the movie Eddie is surrounded by other people who are self-destructive or only interested in making a buck off of him. Even Charlie, his original manager (Myron McCormick in a terrific role)needs him for a meal ticket. Bert, his second manager, is a slithering, calculating parasite who uses everyone around him. Sara, Eddie's pathetic girlfriend, is going through life in an aimless, alcoholic haze.

The movie really lets you into the lives of these people who live on the margins of society. The cinematography is outstanding, the settings and mood of the movie draw you in totally. The acting is uniformly outstanding from top to bottom. Great movies get great performances from the minor characters, too. Vincent Gardenia, Michael Constantine, Murray Hamilton and McCormick are perfect in the smaller roles while Paul Newman, Jackie Gleason, Piper Laurie (all getting well-deserved Oscar nominations) and George C. Scott are indelible in the major roles. Even boxer Jake LaMotta has a cameo as a bartender.

Can Eddie finally overcome being a born loser? Can love redeem any of these lost people? What makes a person a champion? Is it talent alone or does a champion need some inner demon that can only be defeated by pursuing victory at all costs?