Hustle

'Hustle' is an overlooked film, though it is easy to see why.

Stylistically it is very low-key with no notable flourishes or tricksiness. It boasts little in the way of 'action'. A hostage situation sequence seems to have been added purely to provide something in that line for fidgety Burt fans. It is profoundly cynical and resolutely (almost excessively) downbeat. But it is also very thoughtful, atmospheric, well acted and absorbing. A kind of modern dress companion piece to 'Chinatown'. And whilst not quite achieving the force and subtlety of that film, it remains highly creditable.

Reynolds is effective as the world weary cop in love with a French prostitute, a cipher whom Deneuve turns into a real person. Her character represents some sort of unattainable, glamorous continental dream to the policeman. This idea is explored and reinforced by numerous references and allusions to European cinema, culture and locale.

Burt looks uncannily like a youthful Brando and brings great restraint to a role which could have been horribly over-played. Ben Johnson, Eileen Brennan and Paul Winfield also all give good performances as beaten, screwed-up people. The outstanding turn, though, comes from Edward Albert as Leo Sellers, a wealthy and powerful businessman with dubious tastes and connections. This character is key to Steve Shagan's screenplay in the same way that John Huston's Noah Cross was to Robert Towne's 'Chinatown'. A persona symbolic of corruption and degeneracy, but also integral to the prosperity of the society he is such a part of. Sellers is a refined, intelligent man with a keen eye for people's weak spots and fingers deft enough to push all of their buttons at once. Mr. Albert brings him to life with a palpable evil.

'Hustle' is a film that I like to reacquaint myself with from time to time. Whilst Shagan's script is occasionally a tad overblown and too fruity for its own good, there are some great lines and moments. For me, it's noirish exploration of thwarted romanticism is pretty much irresistible.

A minor classic.

When the body of a woman is found on an isolated beach, Homicide Lieutenant Phil Gaines (Burt Reynolds) and his partner, Sergeant Louis Belgrave (Paul Winfield), are assigned for the investigation. They conclude, with the support of the report of the coroner, that the victim, the hooker and strip-dancer Gloria Hollinger (Sharon Kelly), committed suicide using pills. They omit to the family the existence of excessive semen in Gloria's orifices, but her father Marty Hollinger (Ben Johnson), a veteran of the Korea war, does not accept the police findings and try to locate the possible criminal following a personal investigation. The leads point to the last person to be with Gloria, the dirty and powerful attorney Leo Sellers (Eddie Albert), and also a regular costumer of Phil's girlfriend, the prostitute Nicole Britton(Catherine Deneuve).

"Hustle" is a great film-noir. The story is politically incorrect and all the characters are sordid. Burt Reynolds is great in the role of a tormented, but correct and efficient cop, capable of simulate evidences,living with the dilemma that his girl-friend is a whore, and expecting one day to move to Rome with her. Catherine Deneuve is in the splendor of her beauty in the role of a prostitute. Paul Winfield plays a correct detective, but brutal and racist. Eddie Albert is in the role of a powerful man, capable of killing to reach his objectives. Gloria's mother is an unfaithful wife and Marty is a paranoid and obsessed man. The appearance of the precinct is very real and authentic. Robert "Freddy Kruger" Englund, in the beginning of his career, has a short but important participation in the end of the story as the holdup man in a store. In my opinion, this film is very underrated in IMDb User Rating. My vote is eight.

Title (Brazil): "Crime e Paixão" ("Crime and Passion")

Hustle is a terrific film with a a really nice performance by the always under used (the late great) Paul Winfield, he and Burt Reynolds work well together and Eddie Albert is scary as the low life "leo sellers". the stunt the one reviewer is talking about re: albino actor falling from high rise while blasting his pistol into camera is the late great, Dar Robinson from Reynolds' other film, "stick" in the early eighties. i'm glad this is on DVD now and finally a Reinold's' film that is letter boxed. i hope they can re-do the other films IE: "white lightning", "gator" and "shamus" in letterbox form especially "gator" cause it was shot in Todd A-O scope.

Hustle is directed by Robert Aldrich and written by Steve Shagan. It stars Burt Reynolds, Catherine Deneuve, Ben Johnson, Paul Winfield, Ernest Borgnine, Eddie Albert and Eileen Brennan. Music is by Frank De Vol and cinematography by Joseph Biroc.

A dead girl on the beach, that creates heat.

When the body of a young hooker and drug user is found on the beach, the weary LAPD detectives wrap it all up quickly as a suicide. But the father is having none of it and sets about doing his own investigation. All parties involved with the woman, known or presently unknown, are heading for a collision course.

You are doing it for a nobody.

It's a bleak and seamy L.A. that forms the setting for Aldrich's sadly undervalued neo-noir. A place where the police are often corrupt, turning a blind eye to illegal activities perpetrated by high profile suits, where pimps, pushers and prostitutes thrive. Unfaithful wives, a shoe fetish and rebuilt asses also mark the land! Our central cop is Lt. Gaines (Reynolds), a cynical classic movie buff yearning for the European world of harmony depicted in the movies he so enjoys. He's in a relationship with a French call girl (Deneuve), it's a strained relationship, but there is love there if the two of them could just unshackle their hang-ups and vulnerabilities. And then there's the tortured father of the dead girl (Johnson), an ex-serviceman of the Korean War, he's highly strung, volatile, he carries deep emotional baggage that will become heavier the more he learns about his baby girl's existence.

I'm starting to draw dirty pictures of what you do.

The case of the dead girl is merely a backdrop to the unravelling of the primary characters' make ups. This is very much a character driven piece, a slow burn, complex and cynical picture. All characters mean something, adding much to the near depressing tone that Aldrich, Shagan and Biroc have (rightly) favoured. These characters give the film many layers, rendering all dialogue to be of interest, while ensuring the narrative is not linear. It failed at the box office on release, it's perhaps not hard to see why. On the surface, via plot summary and marketing, the film lovers of 75 thought they were getting a murder mystery-cops and villains-crime story, with Reynolds leading the machismo fight for justice. But this is far better than your run of the mill crime picture, it's dark, brooding, and even allows itself some moments of humour to nestle in nicely with the uneasy nature of the beast. While the finale is pitch perfect noir, it's not apologia, it brings the film to a cruelly ironic close.

Patiently crafted by the brilliant Aldrich, and performed with considerable skill and emotion by the cast, Hustle is top line neo-noir and deserves a more appreciative audience. 9/10

Nope, the movie with that amazing stunt mentioned above is "Stick", not "Hustle". "Hustle" is a nice little film, though - a fairly predictable TV cop movie plot, lifted well above the ordinary by some intelligent well-written dialogue and a nice, world-weary performance by Burt Reynolds (honest!).

Around the same time, the director also made "Ulzana's Raid" and "Twilight's Last Gleaming", both of which are deeply critical of the Establishment. True to form, in "Hustle", Reynolds' cynical detective takes some savage swipes at American society. Best line - "Can't you smell the bananas? We're living in f*cking Guatemala. With colour televisions." (The screenwriter also wrote "Save The Tiger" - with a very similar moral).

Well worth watching on late-night telly - NOT worth watching for Catherine Deneuve, who's remarkably wooden in English.