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The Hustler (1961)

Not Rated | | Drama, Sport | 25 September 1961 (USA)
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An up-and-coming pool player plays a long-time champion in a single high-stakes match.

Director:

Robert Rossen

Writers:

Sidney Carroll (screenplay) (as Sydney Carroll), Robert Rossen (screenplay) | 1 more credit »
Won 2 Oscars. Another 11 wins & 20 nominations. See more awards »

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Cast

Complete credited cast:
Paul Newman ... Eddie Felson
Jackie Gleason ... Minnesota Fats
Piper Laurie ... Sarah Packard
George C. Scott ... Bert Gordon
Myron McCormick Myron McCormick ... Charlie Burns
Murray Hamilton ... Findley
Michael Constantine ... Big John
Stefan Gierasch ... Preacher
Clifford A. Pellow Clifford A. Pellow ... Turk (as Cliff Pellow)
Jake LaMotta ... Bartender
Gordon B. Clarke Gordon B. Clarke ... Cashier
Alexander Rose Alexander Rose ... Score Keeper
Carolyn Coates Carolyn Coates ... Waitress
Carl York Carl York ... Young Hustler
Vincent Gardenia ... Bartender
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Storyline

"Fast" Eddie Felson is a small-time pool hustler with a lot of talent but a self-destructive attitude. His bravado causes him to challenge the legendary "Minnesota Fats" to a high-stakes match, but he loses in a heartbreaking marathon. Now broke and without his long-time manager, Felson faces an uphill battle to regain his confidence and his game. It isn't until he hits rock bottom that he agrees to join up with ruthless and cutthroat manager Bert Gordon. Gordon agrees to take him on the road to learn the ropes. But Felson soon realizes that making it to the top could cost him his soul, and perhaps his girlfriend. Will he decide that this is too steep a price to pay in time to save himself? Written by <jgp3553@yahoo.com>

Plot Summary | Add Synopsis

Taglines:

They Called Him "Fast Eddie" See more »

Genres:

Drama | Sport

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

25 September 1961 (USA) See more »

Also Known As:

Robert Rossen's The Hustler See more »

Filming Locations:

Yonkers, New York, USA See more »

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Box Office

Budget:

$2,000,000 (estimated)
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

When Fast Eddie prepares for his first matchup against Minnesota Fats, his manager sits down in front of a poster depicting Willie Mosconi, 14-time world champion in billiards from 1941 to 1957. About ten minutes later, Willie himself makes a cameo as the guy who holds onto the bet money. His character name is also Willie. See more »

Goofs

The first time we see Eddie play, he tries to duplicate the corner shot the second time but misses. The chalk and wallet next to him disappear when he takes the shot, but return in different positions as the ball rolls off the table. See more »

Quotes

Bert Gordon: How's your hand?
Fast Eddie: Fine.
Bert Gordon: Good. I'd hate to think I was puttin' my money on a cripple.
Fast Eddie: Hey, whaddaya say somethin' like that for?
Sarah Packard: It's alright, Eddie. I'm sure Mr. Gordon meant no offense. It was a figure of speech.
Bert Gordon: That's right, Miss Packard.
Sarah Packard: And a fact is a fact.
Bert Gordon: Smart girl, Eddie.
See more »

Connections

Referenced in EastEnders: Episode dated 3 February 2012 (2012) See more »

Soundtracks

Louisville Dixieland
(1961) (uncredited)
Music by Dan Terry
See more »

Frequently Asked Questions

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User Reviews

 
Great games of pool. Not as great otherwise.
7 June 2005 | by Pavel-8See all my reviews

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.


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