134 reviews
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
"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
- hitchcockthelegend
- Mar 3, 2008
- Permalink
This fine film chronicles a tense, dramatic marathon game of poker between a rising young star and a cagey old pro. Steve McQueen is the cool, detached hot shot and Edward G. Robinson displays nerves of steel, razor sharp instincts and a veteran's poise as the two players probe each other, searching for openings and seeking any advantage, however subtle. Both men are excellent and have good support from a solid cast of veteran actors. Ann-Margret is nice as a siren who just can't sit still when she and the Cincinnati Kid are in the same room. She slinks her way through her interpretation as the sluttish wife of a compromised card dealer who figures prominently in the grand game. The romantic angle between the Cincinnati Kid and his girlfriend doesn't ring true, although Tuesday Weld is pleasing as a vulnerable, love-struck girl. The cinematography shows a grim, gray, seedy side of New Orleans that brings realism to the story. The music has a jazzy score and nice vocals by Ray Charles.
- NewEnglandPat
- Mar 5, 2003
- Permalink
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.'
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.'
A movie that shows the world of gamblers and card players should be elegant, claustrophobic, decadent, sexy an full of suspense. In 'The Cincinnati Kid' these are mixed in the most delicious way. Set in New Orleans, during the Depression the film tells the story of 'Cincinnati Kid', who wants to be the best card player in the world. He has the opportunity when the best ones get together in New Orleans for a marathon-lenght poker party. It's obvious that the final party would be between The Kid and Lancey Howard (very cool: Edward G. Robinson). It's a fine classic like almost all Steve McQueen-movies. McQueen is the king of cools and the supporting cast is good too. Tuesday Weld is pretty but Ann-Margret is the most seductive chick in town. The cock-fight scene and the final poker party is fantastically photographed and wonderfully edited (by Hal Ashby, who later directed the 'Coming Home'). And the music! Lalo Schifrin is a master and Ray Charles' song is simply fantastic and fits to the set and mood of the movie. The ending is unusual and unpredictable, but in my opinion it's very fair. Norman Jewison must have been liked his actors very much. The only flaw is the women hair-style. But it's an usual thing mostly in the films from the 60s (like 'Doctor Zhivago'). Although it's regarded as a classic, the wide audience don't recognize and respect it - 'You just not ready for me, yet.'
Like the rest of the English-speaking world, I've recently succumbed to poker-mania, and started wasting some of my spare cash in amateur Texas Hold 'Em games.
Due to my newfound interest in card-playing, and my appreciation for old movies, I picked up "The Cincinatti Kid" on DVD. And I sure wasn't disappointed. The movie's awesome, on so many levels. As you might expect, the poker scenes are incredibly tense and, from what little I know of the game, they're pretty realistic. But other aspects of the film are great, too.
The New Orleans location shooting is gorgeous. You get to see a lot of the city, so I imagine the crew must've spent a fair amount of time there. There's plenty of cool jazz numbers and some nice French Quarter atmosphere. Director Norman Jewison manages to imbue New Orleans, and the movie as a whole, with an atmosphere that's both sleazy and glamorous at the same time.
The strong cast is another highlight. Steve McQueen is understated yet compelling, while Joan Blondell hams it up in a highly entertaining fashion (I love how she keeps teasing Lancey Howard about his age). Edward G. Robinson, one of my favorite character actors, radiates class and even a little menace as Howard. And - this is the best part - the movie also features the sweetly beautiful Tuesday Weld and the painfully sexy Ann-Margret. You just can't lose with a multi-generational cast of stars (and babes) like that.
Some commentators have complained that "The Cincinatti Kid" is slow, particularly during the scenes that don't feature poker. I can't say that I agree. The McQueen-Weld romance is sweet, and it doesn't really take up that much screen time. Sure, the movie may seem a little plodding if compared to contemporary films, but then again even "Aliens" is plodding compared to contemporary films.
The theme song's catchy, too. What more do you need? This movie's a mini-classic.
Due to my newfound interest in card-playing, and my appreciation for old movies, I picked up "The Cincinatti Kid" on DVD. And I sure wasn't disappointed. The movie's awesome, on so many levels. As you might expect, the poker scenes are incredibly tense and, from what little I know of the game, they're pretty realistic. But other aspects of the film are great, too.
The New Orleans location shooting is gorgeous. You get to see a lot of the city, so I imagine the crew must've spent a fair amount of time there. There's plenty of cool jazz numbers and some nice French Quarter atmosphere. Director Norman Jewison manages to imbue New Orleans, and the movie as a whole, with an atmosphere that's both sleazy and glamorous at the same time.
The strong cast is another highlight. Steve McQueen is understated yet compelling, while Joan Blondell hams it up in a highly entertaining fashion (I love how she keeps teasing Lancey Howard about his age). Edward G. Robinson, one of my favorite character actors, radiates class and even a little menace as Howard. And - this is the best part - the movie also features the sweetly beautiful Tuesday Weld and the painfully sexy Ann-Margret. You just can't lose with a multi-generational cast of stars (and babes) like that.
Some commentators have complained that "The Cincinatti Kid" is slow, particularly during the scenes that don't feature poker. I can't say that I agree. The McQueen-Weld romance is sweet, and it doesn't really take up that much screen time. Sure, the movie may seem a little plodding if compared to contemporary films, but then again even "Aliens" is plodding compared to contemporary films.
The theme song's catchy, too. What more do you need? This movie's a mini-classic.
- dr_foreman
- Nov 10, 2006
- Permalink
Thoroughly entertaining gambler's flick has Steve McQueen well-cast as stud-poker player involved in sweat-inducing winner-take-all poker tournament in New Orleans; Edward G. Robinson is the card-playing master who is Steve's main competition, Tuesday Weld is Steve's innocent squeeze, Ann-Margret is a sultry flooze. Great acting fuses a screenplay that seems cobbled together from different styles. It's hard-boiled at times, cartoony pulp at others. Ann-Margret is mostly used for visual flair (or as a punchline: while doing a jigsaw puzzle, she files down the pieces to make them fit at whim), though she's still quite a presence on the screen. Weld is very lovely, and the sequence where Steve shows up at her parents' house and does card-tricks is a little miracle of film-making: perfect writing, directing and acting all coming together wonderfully. Flaws and all, a slick genre piece and well-worth the viewing. *** from ****
- moonspinner55
- Sep 23, 2001
- Permalink
Steve McQueen, who was deservedly called Mister Cool, plays the young upcoming poker player, already said to be among the best in the business. But there is one he hasn't played against, The Man, Lancey Howard, played by the great Edward G. Robinson. With the help of his friend Shooter they set up the big fight. While having a high suspense factor in the poker scenes, the non-poker ones might get a bit boring at times, especially in the love story between the Kid and his girlfriend Christian. But when it comes to playing this gets almost perfect. McQueen has the ideal poker face, and so has Robinson, and they both play their parts realistically and brilliantly. McQueen was said not to be a real actor, just a poser, they said he didn't act he only looked, but he proves it wrong here. His facial expressions are perfect, and he plays the young hotshot player convincingly.
Needless to say the cast is the really stunning cast. Next to the afro-mentioned McQueen and Robinson, there's the always reliable Karl Malden, as Shooter. Malden has the most developed character in the picture, and he does a great job. And the women, oh my god, two stunning young ladies are here in all their glory. Ann-Margret plays the cheater, the femme fatal, the sexy beast, who's married to Shooter but wants the Kid. Surely one of the most attractive actresses of her time, actually all time, Ann is presented here in all her glory and beauty and sex appeal. Her seduction of McQueen early in the film, is incredibly sexy, and played brilliantly. They say Ann learned to act during Carnal Knowledge in '71. but that's not true, she already was a versatile and talented actress here. Watch her face during the cockfight scenes, or her cheating while doing a jigsaw puzzle, she acts naturally, and does a great job. And those tight dresses she wears with lots of cleavage are eye candy in its best form. One of the sexiest performances ever. Definitely shows you can be looking divine, and having acting talent at the same time.
Tuesday Weld plays the good girl, the girl from the country, Christian, and while not as pretty as Ann, she's quite a looker too, and she's also a talented and natural actress. The supporting cast is rounded out by Joane Blondell, Rip Torn, Cab Calloway and Jack Weston, all great actors who all do a fine job. Music score by Lalo Schifrin is good too, and so is the title track sung by legendary Ray Charles.
As for the often-mentioned, often-criticized last hand, it's Hollywood, only Hollywood, not a poker documentary. The film needs a strong climax, and gets it. Norman Jewison is a fine director, and especially the poker scenes and head-shots are well directed. Not much action, not much character development but it's not much of a problem. If only Peckinpah had directed, now that could have been something, Jewison is a great substitute, but I like the thought Peckinpah could have even improved it.
Needless to say the cast is the really stunning cast. Next to the afro-mentioned McQueen and Robinson, there's the always reliable Karl Malden, as Shooter. Malden has the most developed character in the picture, and he does a great job. And the women, oh my god, two stunning young ladies are here in all their glory. Ann-Margret plays the cheater, the femme fatal, the sexy beast, who's married to Shooter but wants the Kid. Surely one of the most attractive actresses of her time, actually all time, Ann is presented here in all her glory and beauty and sex appeal. Her seduction of McQueen early in the film, is incredibly sexy, and played brilliantly. They say Ann learned to act during Carnal Knowledge in '71. but that's not true, she already was a versatile and talented actress here. Watch her face during the cockfight scenes, or her cheating while doing a jigsaw puzzle, she acts naturally, and does a great job. And those tight dresses she wears with lots of cleavage are eye candy in its best form. One of the sexiest performances ever. Definitely shows you can be looking divine, and having acting talent at the same time.
Tuesday Weld plays the good girl, the girl from the country, Christian, and while not as pretty as Ann, she's quite a looker too, and she's also a talented and natural actress. The supporting cast is rounded out by Joane Blondell, Rip Torn, Cab Calloway and Jack Weston, all great actors who all do a fine job. Music score by Lalo Schifrin is good too, and so is the title track sung by legendary Ray Charles.
As for the often-mentioned, often-criticized last hand, it's Hollywood, only Hollywood, not a poker documentary. The film needs a strong climax, and gets it. Norman Jewison is a fine director, and especially the poker scenes and head-shots are well directed. Not much action, not much character development but it's not much of a problem. If only Peckinpah had directed, now that could have been something, Jewison is a great substitute, but I like the thought Peckinpah could have even improved it.
- floydianer
- Nov 7, 2005
- Permalink
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.
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.
- ccthemovieman-1
- Mar 13, 2007
- Permalink
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!
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!
- gridoon2024
- Dec 31, 2018
- Permalink
Edward G. Robinson as Lancey Howard has been King of the Poker Players for a good long time. But as that eminent American philosopher Ric Flair says, "to be the man, you got to beat the man." And there's a kid from Cincinnati played by Steve McQueen who thinks he can do it.
McQueen's up for a fair and square game, but Robinson's developed a bad enemy in Rip Torn. Torn is this rich hotshot who thinks he's good, but he gets in a game with Robinson who guts Torn good and proper. No markers for Torn, he's rich enough to write out a check and pay it up front. But Torn's looking to get even and he ain't too squeamish about what he has to do.
The action of The Cincinnati Kid takes place over a three day period in New Orleans and in the French Quarter which was left fairly intact after Hurricane Katrina. It's fitting and proper the story location should be there, a city with a rich gambling tradition.
There's a couple of nice women's parts, kind of a coming of age for two young actresses who played virginal teenagers up to then, Tuesday Weld and Ann-Margret. Ann-Margret is the nymphomaniac wife of dealer Karl Malden, the Nathan Detroit of the piece. After The Cincinnati Kid, Ann-Margret never played innocents again.
Torn is a slick and malevolent villain who tries to compromise Karl Malden in his quest for vengeance against Robinson. Malden has a great part as a man who's caught by the short hairs.
Originally Spencer Tracy was to do the Lancey Howard role, but according to The Films of Steve McQueen, Tracy thought his role subordinate to McQueen's and bowed out. Other sources have said it was health reasons. Probably both are true. Anyway Robinson is a wily and wise old soul who goes to the poker table like most of us go to the office, to work.
This is one of Steve McQueen's four or five best screen roles, he's an ultimate rebel hero here. He's got what it takes to win, but he'll win it on his own terms.
This film is always called The Hustler at a card table. Like The Hustler, the last climatic scene of the poker showdown with McQueen and Robinson crackles with tension. Who's going to pull it out.
Don't think you can guess the outcome and all its ramifications. Not by a jugful
McQueen's up for a fair and square game, but Robinson's developed a bad enemy in Rip Torn. Torn is this rich hotshot who thinks he's good, but he gets in a game with Robinson who guts Torn good and proper. No markers for Torn, he's rich enough to write out a check and pay it up front. But Torn's looking to get even and he ain't too squeamish about what he has to do.
The action of The Cincinnati Kid takes place over a three day period in New Orleans and in the French Quarter which was left fairly intact after Hurricane Katrina. It's fitting and proper the story location should be there, a city with a rich gambling tradition.
There's a couple of nice women's parts, kind of a coming of age for two young actresses who played virginal teenagers up to then, Tuesday Weld and Ann-Margret. Ann-Margret is the nymphomaniac wife of dealer Karl Malden, the Nathan Detroit of the piece. After The Cincinnati Kid, Ann-Margret never played innocents again.
Torn is a slick and malevolent villain who tries to compromise Karl Malden in his quest for vengeance against Robinson. Malden has a great part as a man who's caught by the short hairs.
Originally Spencer Tracy was to do the Lancey Howard role, but according to The Films of Steve McQueen, Tracy thought his role subordinate to McQueen's and bowed out. Other sources have said it was health reasons. Probably both are true. Anyway Robinson is a wily and wise old soul who goes to the poker table like most of us go to the office, to work.
This is one of Steve McQueen's four or five best screen roles, he's an ultimate rebel hero here. He's got what it takes to win, but he'll win it on his own terms.
This film is always called The Hustler at a card table. Like The Hustler, the last climatic scene of the poker showdown with McQueen and Robinson crackles with tension. Who's going to pull it out.
Don't think you can guess the outcome and all its ramifications. Not by a jugful
- bkoganbing
- Nov 22, 2006
- Permalink
This movie is in many ways like two different movies. One, some trivial romances and relationships that were, frankly, pretty uninteresting. And the other, about the build up to and execution of a game of high stakes poker. The poker part, believe it or not, is the best aspect of the film. In some ways, this movie reminded me of THE HUSTLER--but that was about pool,...and Paul Newman was a lot more "wet behind the ears" than Steve McQueen in this movie.
All-in-all, a time passer. I saw it because I am trying to see all the films of Edward G. Robinson. He plays a supporting part and does probably the best job of acting in the movie. Karl Malden, as always, is excellent. Look carefully and you'll see Cab Calloway as one of the players.
Decent but could use some infusion of life and energy. Also, I found the final hand between McQueen and Robinson ridiculous--one having a full house and the other a straight flush. The odds against having two hands that strong when playing head-to-head against someone is about 1224523631833491209301304031040309323882123 to 1! This didn't help the movie any as far as realism goes.
All-in-all, a time passer. I saw it because I am trying to see all the films of Edward G. Robinson. He plays a supporting part and does probably the best job of acting in the movie. Karl Malden, as always, is excellent. Look carefully and you'll see Cab Calloway as one of the players.
Decent but could use some infusion of life and energy. Also, I found the final hand between McQueen and Robinson ridiculous--one having a full house and the other a straight flush. The odds against having two hands that strong when playing head-to-head against someone is about 1224523631833491209301304031040309323882123 to 1! This didn't help the movie any as far as realism goes.
- planktonrules
- May 19, 2006
- Permalink
- Nazi_Fighter_David
- Sep 3, 1999
- Permalink
Very Seldom, do You Hear Critics or Fans of Steve McQueen, a very Popular Movie Star, Discuss His Talent as an "Actor".
But Objectively the Case Could be Made that McQueen was Never Able to Convince that He was a Great Actor. Popular, a Star, Yes.
But the Acting Craft is Apart from those Accolades. He was Always Searching for the "Right Part" to Hone and Develop what "Gifts" He Had and Become a Better Player.
But Objectively the Case Could be Made that Attaining the Status of a "Great" Actor was Never Solidified.
This is one of those Roles where He could Attempt the Aforementioned as a Dramatic Thespian, aside from "Charisma" or sometimes Called "It",
Like Bogart Before Him McQueen could be Accused of Playing "McQueen" in His On Screen Performances.
Effective...Yes...Endearing...Yes...But the "Thing" of being a "Great" Actor...No.
"The Cincinnati Kid" Suffers a bit from the "Problem" of All Gambling Movies. That "Suspension of Disbelief" is very Difficult because of the Contrivance Endemic to the Predetermined Outcome of Every Turn of a Card.
Sure, All Films are "Contrived" but "Gambling" Movies Rest Heavily on Surprise and Mystery to Achieve Drama and Suspense.
Worth a Watch for a Killer Cast and to See Steve McQueen, Playing Steve McQueen in one of the First Roles where He is on that Search to be "More than he can be".
But Objectively the Case Could be Made that McQueen was Never Able to Convince that He was a Great Actor. Popular, a Star, Yes.
But the Acting Craft is Apart from those Accolades. He was Always Searching for the "Right Part" to Hone and Develop what "Gifts" He Had and Become a Better Player.
But Objectively the Case Could be Made that Attaining the Status of a "Great" Actor was Never Solidified.
This is one of those Roles where He could Attempt the Aforementioned as a Dramatic Thespian, aside from "Charisma" or sometimes Called "It",
Like Bogart Before Him McQueen could be Accused of Playing "McQueen" in His On Screen Performances.
Effective...Yes...Endearing...Yes...But the "Thing" of being a "Great" Actor...No.
"The Cincinnati Kid" Suffers a bit from the "Problem" of All Gambling Movies. That "Suspension of Disbelief" is very Difficult because of the Contrivance Endemic to the Predetermined Outcome of Every Turn of a Card.
Sure, All Films are "Contrived" but "Gambling" Movies Rest Heavily on Surprise and Mystery to Achieve Drama and Suspense.
Worth a Watch for a Killer Cast and to See Steve McQueen, Playing Steve McQueen in one of the First Roles where He is on that Search to be "More than he can be".
- LeonLouisRicci
- Sep 9, 2021
- Permalink
Eric Stoner - The Cincinnati Kid (Steve Mqcueen) is going to take on The Man - Lancy Howard (A great as usual Edward G. Robinson) in the biggest poker game you will ever see, and you better not miss it. The movie follows the few days before the big game of the Cincinatti Kid and several other characters who in one way or another could be affected by the games results: One is a sort of a shady gangster (Rip Torn) who was "butchered" by "The Man" not very long ago and will do anything to get even with him including threaten and bribe one of the dealers named Shooter (Karl Malden) who is The kid's best friend. Also in the mix is Shooter's sexy and seductive wife Melba (Ann-Margret at her most beauty) who has a few things on her mind (one of them is money of course and none of them is her poor husband) and also are trying to tempt Mcqueen's Character who is in relationships with a sweet and innocent country girl named Christian (the lovely Tuesday Weld) who wants to settle down. the film hasn't got even one boring minute thanks to the first rate cast and the interesting dialogs. The final showdown at the hotel is probably the most tense and interesting poker game ever filmed in a movie. And who can forget the last thing Lancy tells the kid: "Gets down to what it's all about, doesn't it? Making the wrong move at the right time." Recommended 10/10
In a real way, "The Cincinnati Kid" is a contest between the Kid (Steve McQueen) and "the Man" (Edward G Robinson). But I don't mean the pivotal card game, but the game of life itself. In the main, each is what the other is not. The question is: is one more compelling than the other?
The opening scenes are all Steve McQueen's, but those that follow are more lackluster. And, it's not until Robinson makes his entry that the real show--and showdown begins. It's then, despite all the ambiguity surrounding the anti-hero McQueen, that the question becomes: who's going to emerge the winner?
Obviously, this depends on the viewer, but I kept leaning toward "the Man." Yup, I know that if this were the McQueen of "Bullitt," my allegiance to him would be unquestionable. But in "Kid," he isn't a crack, high-wired police detective, with an outsider's backbone, but rather a raw, fast rising star as a sub-world gambler.
"The Man," who I think is the more riveting figure, and perhaps the larger character, is a professional card sharp, who after decades in the game, has perfected his craft. He's classy, comfortable, polite, quietly confident, and self-accepting. He lives, with precision, on the borders of the mainstream and the shades below. He accepts the demands of his "career" which include a solitary life style, hotel life, travel, marathon-like working hours, and an inglorious attention to detail and personal rituals.
He knows the framework of the game, how it works in a broader social world, and is willing to conform to it, and its rules. But most importantly, he's perceptive of human nature, and in touch with the whims, foibles, follies, and fates which cling to it. He knows what he doesn't know. Luck is not an issue for him anymore than cheating is for "the Kid." And, we begin to grasp that, despite his age and fading skills, he will win more because of his character than his methods--or that he is better at life than his intriguing opponent.
"The Kid's" more marginal, gutsier, and rebellious life is certainly to his advantage. How does one not find McQueen's character appealing, cool, and free-spirited. But there are things about him that detract. For one, he seems a little a bit above the role, a bit too fortunate in his prowess, or spoiled by his commanding wins in life. It's as if he's a cut above his peers, more advantaged, more modern.
And then there are a couple of his scenes which provoke maximum unease. In the blood-sport cock fight, which subjects us to a heavy dose of animal cruelty, we await the Kid's endorsement of our rage, or at least for a minimal show of dismay, but instead, as the camera flashes back on him, we get hit in the gut by his excited public display as he ups his bets by passing cash down through the hands of the roaring crowd. But even worse is the Kid's infidelity during a snooze break in his long championship showdown with the Man. This selfish act violates three of his closest friends and speak loudly of the failure of this individualist rebel.
Both boasting incidents show the Kid's clutching for impressions. In the first, he hides behind the crowd; in the second, he hides behind masculine image. Both times he buckles under the glare of lights. And this might be the critical difference between the Kid and the disciplined Lancey Howard, his champion opponent--and the Man. It's the Kid who prefers the look of a winner, the look of masculinity, the look of sexual prowess to reality. Perhaps that little detail of the Kid's making the cab driver spin around the blocks a few more times so as to 'enter the Ring' last, while his larger than life opponent waits patiently, eyeing his watch, was a true preview of the big match, in which form trumps appearance.
The opening scenes are all Steve McQueen's, but those that follow are more lackluster. And, it's not until Robinson makes his entry that the real show--and showdown begins. It's then, despite all the ambiguity surrounding the anti-hero McQueen, that the question becomes: who's going to emerge the winner?
Obviously, this depends on the viewer, but I kept leaning toward "the Man." Yup, I know that if this were the McQueen of "Bullitt," my allegiance to him would be unquestionable. But in "Kid," he isn't a crack, high-wired police detective, with an outsider's backbone, but rather a raw, fast rising star as a sub-world gambler.
"The Man," who I think is the more riveting figure, and perhaps the larger character, is a professional card sharp, who after decades in the game, has perfected his craft. He's classy, comfortable, polite, quietly confident, and self-accepting. He lives, with precision, on the borders of the mainstream and the shades below. He accepts the demands of his "career" which include a solitary life style, hotel life, travel, marathon-like working hours, and an inglorious attention to detail and personal rituals.
He knows the framework of the game, how it works in a broader social world, and is willing to conform to it, and its rules. But most importantly, he's perceptive of human nature, and in touch with the whims, foibles, follies, and fates which cling to it. He knows what he doesn't know. Luck is not an issue for him anymore than cheating is for "the Kid." And, we begin to grasp that, despite his age and fading skills, he will win more because of his character than his methods--or that he is better at life than his intriguing opponent.
"The Kid's" more marginal, gutsier, and rebellious life is certainly to his advantage. How does one not find McQueen's character appealing, cool, and free-spirited. But there are things about him that detract. For one, he seems a little a bit above the role, a bit too fortunate in his prowess, or spoiled by his commanding wins in life. It's as if he's a cut above his peers, more advantaged, more modern.
And then there are a couple of his scenes which provoke maximum unease. In the blood-sport cock fight, which subjects us to a heavy dose of animal cruelty, we await the Kid's endorsement of our rage, or at least for a minimal show of dismay, but instead, as the camera flashes back on him, we get hit in the gut by his excited public display as he ups his bets by passing cash down through the hands of the roaring crowd. But even worse is the Kid's infidelity during a snooze break in his long championship showdown with the Man. This selfish act violates three of his closest friends and speak loudly of the failure of this individualist rebel.
Both boasting incidents show the Kid's clutching for impressions. In the first, he hides behind the crowd; in the second, he hides behind masculine image. Both times he buckles under the glare of lights. And this might be the critical difference between the Kid and the disciplined Lancey Howard, his champion opponent--and the Man. It's the Kid who prefers the look of a winner, the look of masculinity, the look of sexual prowess to reality. Perhaps that little detail of the Kid's making the cab driver spin around the blocks a few more times so as to 'enter the Ring' last, while his larger than life opponent waits patiently, eyeing his watch, was a true preview of the big match, in which form trumps appearance.
- dataconflossmoor-1
- Nov 23, 2008
- Permalink
The Kid vs The Man
This was a well written, well acted movie, very cool movie.
Steve McQueen was one cool cat. I especially liked Shooter Karl Malden, the tortured soul who tried to save the Kids soul.
The odds on being dealt a straight flush at 5 card stud are 72,192 : 1
The odds on being dealt a straight flush at 5 card stud are 72,192 : 1
- three8s2013
- Mar 8, 2019
- Permalink
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.
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.
An up-and-coming poker player tries to prove himself in a high-stakes match against a long-time master of the game (Edward G. Robinson , though Spencer Tracy was originally cast as Lancey Howard but poor health forced him to withdraw and he was replaced). Cincinnati Kid lets nothing stand in his way , especially the reigning king of the card tables , Lancey Howard . Cincinnati gets together in 30's New Orleans for big poker game with unexpected consequences .
This interesting film contains emotion , drama , a lot of competing game in the tradition of the not dissimilar : The Hustler , and meaningless romances between McQueen , Tuesday Weld and Ann Margret . Nice acting by Steve McQueen as a roving card-shark determined on his way to the big time, here he had one of his earliest and best performances . Awesome Edward G. Robinson as a veteran poker player , this is the second movie in which plays a gambler that features a straight flush in diamonds , the first was Smart Money (1931) . Extraordinary support cast such as Rip Torn , Jack Weston , Cab Calloway , Jeff Corey , Milton Selzer , Karl Swenson , Robert DoQui , Dub Taylor and Sharon Tate was replaced in the film by Tuesday Weld . And special appearance by Joan Blondell , Mitzi Gaynor campaigned for the role of "Lady Fingers", but it ended up going to Joan ; rumors are abound as to why Blondell got the role, with the most common being that Gaynor and Ann-Margret did not quite get along . Appropriate and evocative Art Direction by Edward C. Carfagno and George W. Davis . Marvelous cinematography capturing splendidly New Orleans settings by top-notch director of photography Philip H. Lathrop . Adequate as well as atmospheric soundtrack by Lalo Schifrin , including catching jazz music .
The motion picture was well realized by Norman Jewison , he directed after Sam Peckinpah was fired by producer Martin Ransohoff who was unhappy with the film tone and fired Peckinpah . Jewison is a prestigious and veteran filmmaker, his greatest hit is , of course , ¨Jesus Christ Superstar¨ . He directed successful movies as ¨Fiddler on the roof¨ , ¨Agnes of God¨ , ¨Moonstruck¨ , ¨Thomas Crown¨ and this ¨Cinncinati Kid¨ . However , he also got some flops as ¨Bogus¨, ¨In country¨ , ¨Only you¨ and ¨Other's people money¨ and his last picture titled ¨The statement¨ . He considers ¨The Hurricane¨ (1999) the last in a trilogy of racial bigotry movies he's realized, the first two being ¨In the Heat of the Night¨ (1967) and ¨A Soldier's Story¨ (1984). Cincinnati Kid rating : Good, worthwhile seeing for its prodigious interpretations , magnificent settings and colorful cinematography .
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This interesting film contains emotion , drama , a lot of competing game in the tradition of the not dissimilar : The Hustler , and meaningless romances between McQueen , Tuesday Weld and Ann Margret . Nice acting by Steve McQueen as a roving card-shark determined on his way to the big time, here he had one of his earliest and best performances . Awesome Edward G. Robinson as a veteran poker player , this is the second movie in which plays a gambler that features a straight flush in diamonds , the first was Smart Money (1931) . Extraordinary support cast such as Rip Torn , Jack Weston , Cab Calloway , Jeff Corey , Milton Selzer , Karl Swenson , Robert DoQui , Dub Taylor and Sharon Tate was replaced in the film by Tuesday Weld . And special appearance by Joan Blondell , Mitzi Gaynor campaigned for the role of "Lady Fingers", but it ended up going to Joan ; rumors are abound as to why Blondell got the role, with the most common being that Gaynor and Ann-Margret did not quite get along . Appropriate and evocative Art Direction by Edward C. Carfagno and George W. Davis . Marvelous cinematography capturing splendidly New Orleans settings by top-notch director of photography Philip H. Lathrop . Adequate as well as atmospheric soundtrack by Lalo Schifrin , including catching jazz music .
The motion picture was well realized by Norman Jewison , he directed after Sam Peckinpah was fired by producer Martin Ransohoff who was unhappy with the film tone and fired Peckinpah . Jewison is a prestigious and veteran filmmaker, his greatest hit is , of course , ¨Jesus Christ Superstar¨ . He directed successful movies as ¨Fiddler on the roof¨ , ¨Agnes of God¨ , ¨Moonstruck¨ , ¨Thomas Crown¨ and this ¨Cinncinati Kid¨ . However , he also got some flops as ¨Bogus¨, ¨In country¨ , ¨Only you¨ and ¨Other's people money¨ and his last picture titled ¨The statement¨ . He considers ¨The Hurricane¨ (1999) the last in a trilogy of racial bigotry movies he's realized, the first two being ¨In the Heat of the Night¨ (1967) and ¨A Soldier's Story¨ (1984). Cincinnati Kid rating : Good, worthwhile seeing for its prodigious interpretations , magnificent settings and colorful cinematography .
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- tarmcgator
- Jun 4, 2005
- Permalink