The Hustler (1961)

Robert Rossen’s. Iconic pool film, “The Hustler”, is a modern “Noir”, masterpiece about the dark obsessive filled seedy side of urban life. 

The film has a smart incisive script, outstanding performances and striking black and white photography.  It is one of those rare films that gets it right everywhere.   It’s director never made another great film, but here, created a masterpiece. 

In “fast” Eddie Felson, the film boasts a fascinating anti-hero, brought to life by the handsome and tremendously talented Paul Newman.  Newman is not alone as the film includes great performances from George C Scott, Piper Laurie and the comedienne Jackie Gleason (who proves here that he was more than capable of handling dramatic roles).  

The film opens by introducing us to Eddie who makes a living hustling small town pool player by pretending to be a regular Joe when in reality he is one of the best pool players in the country.   When he makes enough money right at the start of the film, he challenges, Minnesota Fats (Jackie Gleason), who is known to be the best pool player in the world to a high stakes match.  He is obsessive in determining that he is a better player than Fats.  This first match is drawn out and lengthy but rivets in its tension and style.  During this confrontation at the pool table there is a rhythm to the camerawork as shots are intercut seamlessly with facial expressions, body language moves and spurts of emotion.  This is all done in rhythm to a snazzy jazz score and throughout it all the actual rules and goals of the game are never explained.  They are not important.  It is the obsessive concentration of the protagonists that drive the suspense. 

The black and white cinematography depicts the dark smoky pool halls perfectly.   After this match the film follows Eddie through a period of growth.  He is involved in a pretty alcoholic Sarah (Laurie) and a gambling mobster (Scott).  Both fight for his soul.  Neither wins.  But Eddie loses a lot as well.   There are real tragic scenes and self awareness that force this character into the final act, which is another pool game that could be anything from a boxing match to a gunfight.  The actual pool game is irrelevant.  It is the final realization of character that Eddie goes through that is the core of the movie. 

Newman with all of his good looks and charm is perfect in the role of Eddie.  He is a cheat and proves to being disloyal to those that care about him the most.  It is his charm and looks that allow him to get away with these deceits.  As an actor Newman is as intense as any of the greatest actors who have ever graced the screen and his Eddie seems so real that I felt I knew him allowing me to keep rooting in his favor throughout the story.  He is not alone however as the supporting cast are all impressive.  Laurie plays the alcoholic weakling to perfection and while I detested her inability to contend with life, I was also moved by her sad fate.   Gleason, who I always loved as the fat buffoon in the TV sitcom, “The Honeymooners”, gives an impressive physical performance as Minnesota Fats.  He has very little dialogue, but moves with an elegance and style that oozes with confidence as someone who knows how good he really is.   His body language is perfect.  Then there is Scott who in only his third film gives one of his many great performances of a strong willed confident heavy with no morals.  It is clear that he is a man to be reckoned with even before he speaks his first words in the film.   Scott towers when he is introduced making the ending that much more powerful. 

The movie ends with a realization of what it is that constitutes real character.  Scott’s gangster at one point tells Newman’s Eddie, that he has none.   At the end of the movie it is Eddie who discovers the true meaning of character and the gangster who realizes he has none.  

This is one of America Cinema’s great character studies that carries a punch and is not to be missed.