An up-and-coming pool player plays a long-time champion in a single high-stakes match.An up-and-coming pool player plays a long-time champion in a single high-stakes match.An up-and-coming pool player plays a long-time champion in a single high-stakes match.
- Won 2 Oscars
- 13 wins & 21 nominations total
- Turk
- (as Cliff Pellow)
- Old Doctor
- (uncredited)
- Bartender
- (uncredited)
- Waiter at Parisien Restaurant
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaPaul Newman and Jackie Gleason established a friendship on the set. At one point, Newman got a little cocky about his newfound pool skills and challenged the much more experienced Gleason to a $50 bet on a game. Newman broke, then it was Gleason's turn. He knocked all 15 balls in and Newman never got another shot. Gleason recalled that the next day Newman paid him off with 5000 pennies.
- GoofsDuring the last pool match, second game, Minnesota Fats has taken his jacket off, loosened his tie and unbuttoned his vest, but one subsequent shot shows him with his tie tightened and wearing a buttoned vest and jacket.
- Quotes
[Fast Eddie is bothered because Bert called him a born loser]
Fast Eddie: Cause, ya see, twice, Sarah... once at Ames with Minnesota Fats and then again at Arthur's, in that cheap, crummy pool room, now why'd I do it, Sarah? Why'd I do it? I coulda beat that guy, coulda beat 'im cold, he never woulda known. But I just hadda show 'im. Just hadda show those creeps and those punks what the game is like when it's great, when it's REALLY great. You know, like anything can be great, anything can be great. I don't care, BRICKLAYING can be great, if a guy knows. If he knows what he's doing and why and if he can make it come off. When I'm goin', I mean, when I'm REALLY goin' I feel like a... like a jockey must feel. He's sittin' on his horse, he's got all that speed and that power underneath him... he's comin' into the stretch, the pressure's on 'im, and he KNOWS... just feels... when to let it go and how much. Cause he's got everything workin' for 'im: timing, touch. It's a great feeling, boy, it's a real great feeling when you're right and you KNOW you're right. It's like all of a sudden I got oil in my arm. The pool cue's part of me. You know, it's uh - pool cue, it's got nerves in it. It's a piece of wood, it's got nerves in it. Feel the roll of those balls, you don't have to look, you just KNOW. You make shots that nobody's ever made before. I can play that game the way... NOBODY'S ever played it before.
Sarah Packard: You're not a loser, Eddie, you're a winner. Some men never get to feel that way about anything.
- ConnectionsFeatured in Portrait of an Actor (1971)
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.
- Pavel-8
- Jun 7, 2005
Details
- Release date
- Country of origin
- Language
- Also known as
- Robert Rossen's The Hustler
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $2,125,000 (estimated)
- Runtime2 hours 14 minutes
- Color
- Aspect ratio
- 2.35 : 1