若きハスラー、ファースト・エディがベテランのミネソタ・ファッツに挑む。
ビリヤードの名シーンの数々。1961年の作品なので、やや「間延び」するが
見ごたえのあるヒューマンドラマ。
ハスラー (ベストヒット・セレクション) [DVD]
フォーマット | 字幕付き, ワイドスクリーン, ブラック&ホワイト |
コントリビュータ | ロバート・ロッセン, ポール・ニューマン |
言語 | 英語 |
稼働時間 | 2 時間 15 分 |
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商品の説明
名優ポール・ニューマンの代表作!
一人の若きハスラーの挫折と苦渋、人生の全てを描いた傑作ドラマ!
<キャスト&スタッフ>
エディ…ポール・ニューマン
ミネソタ…ジャッキー・グリーソン
バート…ジョージ・C・スコット
監督・製作・脚色:ロバート・ロッセン
脚色:シドニー・キャロル
原作:ウォルター・ティービス
●字幕翻訳:木原たけし
<ストーリー>
ギャンブルの世界に生きる男たちの息詰まる死闘と、全編の3分の2に渡る白熱のプール・シーンを、流麗なジャズのメロディにのせて描く迫真のドラマ。抜群の才能を持ち、若くして名をあげたハスラー、エディがシカゴ一の勝負師ミネソタとの宿命の対決に挑んでいく。
<ポイント>
●名優ポール・ニューマンの代表作! 挫折と苦悩を背負いつつ、勝負に人生の全てを賭ける男の魅力と哀しさをにじませる名演が高く評価され、アカデミー賞主演男優賞にもノミネートされた。
●全編の3分の2に渡る白熱のプール・シーン──抜群の才能を持ち、若くして名をあげたハスラー、エディ(P・ニューマン)とシカゴ一の勝負師ミネソタ・ファッツ(G・グリーソン)との宿命の対決は緊迫感溢れる展開で見ごたえ十分!
<特典>
●オリジナル劇場予告編
登録情報
- アスペクト比 : 2.35:1
- 言語 : 英語
- 梱包サイズ : 19 x 13.4 x 1.6 cm; 99.79 g
- EAN : 4988142582423
- 監督 : ロバート・ロッセン
- メディア形式 : 字幕付き, ワイドスクリーン, ブラック&ホワイト
- 時間 : 2 時間 15 分
- 発売日 : 2007/10/24
- 出演 : ポール・ニューマン
- 字幕: : 日本語, 英語
- 販売元 : 20世紀フォックス・ホーム・エンターテイメント・ジャパン
- ASIN : B000VRXIBK
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 267,905位DVD (DVDの売れ筋ランキングを見る)
- - 26,754位外国のドラマ映画
- カスタマーレビュー:
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上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2022年11月19日に日本でレビュー済み
Amazonで購入
◆前に調べた時に新品1000円程度だから後で見てみようと思っていたらいつの間にか新品が無くなり高騰。
◆数年待って久々調べたら新品が入荷していたので即購入しました。
◆「勝つ」ということはどういう事なのか。ただ実力があれば良いってものではない。そう思える作品でした。
◆数年待って久々調べたら新品が入荷していたので即購入しました。
◆「勝つ」ということはどういう事なのか。ただ実力があれば良いってものではない。そう思える作品でした。
2022年7月11日に日本でレビュー済み
Amazonで購入
久しぶり観たくなり注文。
感動です。
感動です。
2020年9月27日に日本でレビュー済み
Amazonで購入
ポール・ニューマンの傑作かもしれないが、全編に暗い空気が流れて最後に救われない結末が待っている後味の悪さが残る作品だった。
2020年5月7日に日本でレビュー済み
Amazonで購入
モノクロなのに登場人物が生き生きと艶かしい極上のヒューマンドラマの名作であり傑作だ。
自分はバブル真っ盛りの1986年のトム・クルーズと共演した「ハスラー2」でビリヤードに嵌まった口だが、25年前に遡るポール・ニューマンの元祖ハスラーは更に格調高く、テーマの深掘りが素晴らしい。己の弱さや失った犠牲の重さを知る事こそ真の勝負師だと。
冒頭、ニューマン演じるカリフォルニアの新鋭ハスラー“ファースト・エディ”が、伝説的存在の“ミネソタ・ファッツ”に勝負を挑むシーンから始まるが、息を着かせぬ攻防に一気に引き込まれる。単なる賭けビリヤードに過ぎないが、丸一日超に及ぶ対戦に求められる集中力と忍耐力は想像以上だ。
一見すると簡単にポケットに落としているショット・シーンは堂に入っていて演者はかなり練習した筈だ。場末のビリヤードホール、煙草と酒、資金屋からのドル紙幣がゲーム毎に飛び交う様子が実にリアルに描写されている。
兄貴分役が定着した「明日に向かって撃て!」以降のニューマンには馴染みがあり、変幻自在の表情や細かい仕草、独特の佇まい等、その演技力は既に折り紙つきだが、若かりし日の彼の演技も素晴らしい。不遜だが繊細、頑なだが愛に飢えた蒼き勝負師を見事に演じており、主人公が苦しむ咆哮が痛いほどだ。
共演者は、ミネソタ・ファッツ役のコメディアン出身ジャッキー・グリーソンが兎に角も圧巻の迫力。資金屋バート役のジョージ・C・スコットは冷酷な金の亡者を、エディの唯一の理解者である彼女をパイパー・ローリーが熱演し、全編通して勝負の緊張感と人間ドラマが一分の隙なく交錯する。洋画では屈指の、青年が男になる道程をリアルに歩める最上の二時間だ。
荒々しくも緻密に計算された作風には思わず溜め息が出たほどで、アカデミー賞8部門ノミネートの完成度は、見終わった後の言葉に出来ない充実感が証明するでしょう。
Blu-rayは素晴らしいリマスター画質で、日曜洋画劇場版の吹替えも文句なし。特典映像も充実していて、役者の素顔や製作秘話が満載。初めて観る人もビリヤードの世界を楽しめる永久保存版です。
自分はバブル真っ盛りの1986年のトム・クルーズと共演した「ハスラー2」でビリヤードに嵌まった口だが、25年前に遡るポール・ニューマンの元祖ハスラーは更に格調高く、テーマの深掘りが素晴らしい。己の弱さや失った犠牲の重さを知る事こそ真の勝負師だと。
冒頭、ニューマン演じるカリフォルニアの新鋭ハスラー“ファースト・エディ”が、伝説的存在の“ミネソタ・ファッツ”に勝負を挑むシーンから始まるが、息を着かせぬ攻防に一気に引き込まれる。単なる賭けビリヤードに過ぎないが、丸一日超に及ぶ対戦に求められる集中力と忍耐力は想像以上だ。
一見すると簡単にポケットに落としているショット・シーンは堂に入っていて演者はかなり練習した筈だ。場末のビリヤードホール、煙草と酒、資金屋からのドル紙幣がゲーム毎に飛び交う様子が実にリアルに描写されている。
兄貴分役が定着した「明日に向かって撃て!」以降のニューマンには馴染みがあり、変幻自在の表情や細かい仕草、独特の佇まい等、その演技力は既に折り紙つきだが、若かりし日の彼の演技も素晴らしい。不遜だが繊細、頑なだが愛に飢えた蒼き勝負師を見事に演じており、主人公が苦しむ咆哮が痛いほどだ。
共演者は、ミネソタ・ファッツ役のコメディアン出身ジャッキー・グリーソンが兎に角も圧巻の迫力。資金屋バート役のジョージ・C・スコットは冷酷な金の亡者を、エディの唯一の理解者である彼女をパイパー・ローリーが熱演し、全編通して勝負の緊張感と人間ドラマが一分の隙なく交錯する。洋画では屈指の、青年が男になる道程をリアルに歩める最上の二時間だ。
荒々しくも緻密に計算された作風には思わず溜め息が出たほどで、アカデミー賞8部門ノミネートの完成度は、見終わった後の言葉に出来ない充実感が証明するでしょう。
Blu-rayは素晴らしいリマスター画質で、日曜洋画劇場版の吹替えも文句なし。特典映像も充実していて、役者の素顔や製作秘話が満載。初めて観る人もビリヤードの世界を楽しめる永久保存版です。
2007年4月21日に日本でレビュー済み
若きハスラー、エディ・フェルスンは、ビリヤードの伝説的名人ミネソタ・ファッツに挑戦し逆転負けされてしまう。酒に溺れたエディは女詩人サラと出会い
同棲を始めるが、悪徳マネージャーと組んで場末のビリヤード場で荒稼ぎするエディに絶望して、自殺。失意のエディは再度ファッツに挑戦する。
1961年作。強烈な印象を残す迫力のビリヤード・シーンで、プロの勝負師の世界を非情なタッチで描いたロバート・ロッセン監督の代表作と言ってよいだろう。重病に冒されていたロッセン監督は、この作品が遺作になることを覚悟して撮影を開始したという。監督の執念が乗り移ったのか、ポール・ニューマンをはじめとした演技陣が見事なアンサンブルを見せる。エディを利用する悪徳マネージャーのバートを演じたジョージ・C・スコットの抜け目の無い狡猾さ、ミネソタ・ファッツを演じたジャッキー・グリースンの場数を踏んだプロならではの優雅さ、足の不自由な
女詩人サラを演じたパイパー・ローリーが夢破れた者としてエディに寄せる一途な愛、そして若さ故の暴走で自滅していく主人公エディを演じたニューマンの絶頂期に相応しい演技。主演陣全員がアカデミー賞にノミネートされる好演を見せた。ニューマンは英国アカデミーの主演男優賞は受賞するが、オスカーを手にするには「ハスラー2」(86年)でアカデミー主演男優賞を取るまで待たねばならなかった。
本作品はアカデミー賞9部門にノミネートされるが、受賞に至ったのは撮影賞のユージン・シェフタンと美術監督のハリー・ホナー、ジーン・キャラハン(装置)だった。
ニューマンはグリースンと共に当時最高のプロ、ウィリー・モスコーニのコーチを受け、プロのハスラーとしてのキューさばきを完璧に身につけて撮影に臨んだという。本作品のビリヤード・シーンの迫力はこうした努力の積み重ねによるものなのだ。尚、モスコーニもウィリーという役名でビリヤード場に顔を出している。
同棲を始めるが、悪徳マネージャーと組んで場末のビリヤード場で荒稼ぎするエディに絶望して、自殺。失意のエディは再度ファッツに挑戦する。
1961年作。強烈な印象を残す迫力のビリヤード・シーンで、プロの勝負師の世界を非情なタッチで描いたロバート・ロッセン監督の代表作と言ってよいだろう。重病に冒されていたロッセン監督は、この作品が遺作になることを覚悟して撮影を開始したという。監督の執念が乗り移ったのか、ポール・ニューマンをはじめとした演技陣が見事なアンサンブルを見せる。エディを利用する悪徳マネージャーのバートを演じたジョージ・C・スコットの抜け目の無い狡猾さ、ミネソタ・ファッツを演じたジャッキー・グリースンの場数を踏んだプロならではの優雅さ、足の不自由な
女詩人サラを演じたパイパー・ローリーが夢破れた者としてエディに寄せる一途な愛、そして若さ故の暴走で自滅していく主人公エディを演じたニューマンの絶頂期に相応しい演技。主演陣全員がアカデミー賞にノミネートされる好演を見せた。ニューマンは英国アカデミーの主演男優賞は受賞するが、オスカーを手にするには「ハスラー2」(86年)でアカデミー主演男優賞を取るまで待たねばならなかった。
本作品はアカデミー賞9部門にノミネートされるが、受賞に至ったのは撮影賞のユージン・シェフタンと美術監督のハリー・ホナー、ジーン・キャラハン(装置)だった。
ニューマンはグリースンと共に当時最高のプロ、ウィリー・モスコーニのコーチを受け、プロのハスラーとしてのキューさばきを完璧に身につけて撮影に臨んだという。本作品のビリヤード・シーンの迫力はこうした努力の積み重ねによるものなのだ。尚、モスコーニもウィリーという役名でビリヤード場に顔を出している。
2020年6月28日に日本でレビュー済み
Amazonで購入
リマスター版でしたが
クリアで雰囲気もそのままに
細部のディテールも新たに発見出来て
良かったです。特典映像も楽しみました
クリアで雰囲気もそのままに
細部のディテールも新たに発見出来て
良かったです。特典映像も楽しみました
2018年9月30日に日本でレビュー済み
Amazonで購入
好きな作品。ずっと欲しかったんです。恋愛の話が入ってきてからがおもしろい。このシリーズの2のほうが古く感じる。こっちのほうが好き。
他の国からのトップレビュー
john
5つ星のうち5.0
My order
2023年7月22日に英国でレビュー済みAmazonで購入
Just as I expected, excellent film 😄🎥
Cliente Amazon
5つ星のうち5.0
Buena compra
2021年5月12日にスペインでレビュー済みAmazonで購入
Llegó en plazo y en perfecto estado.
Todo bien.
Todo bien.
F. C. Schaefer
5つ星のうち5.0
The Great American Movie
2018年7月30日にアメリカ合衆国でレビュー済みAmazonで購入
THE HUSTLER is one of the essential American films of the 1960’s, right up there with BONNIE & CLYDE, THE GRADUATE, and THE WILD BUNCH, a cultural touchstone for years after its release with scenes that defined a generation. If its luster has faded in the past few decades, maybe it is because B/W films were not favorites of the MTV generation and the millennials that followed, but I think it is The Great American Movie the way The Great Gatsby is The Great American Novel, in that it is a film that challenges the viewer to consider just what makes a person a success, a failure, and how does one gain the character to become the former and avoid the latter. It is also a damn good piece of film making, filled with subtle touches that vividly bring to life a time and place, and the marginalized culture of the big city pool halls.
Most know the plot, of how cocky young pool hustler, Fast Eddie Felson, comes to New York City to challenge the legendary champ, Minnesota Fats, to a game of straight pool in Fats’ regular haunt. It’s youth challenging experience, and though Fast Eddie may well have the raw talent to beat Fats, he does not have the sense to know when to quit while he is ahead, and Fats utterly humiliates Eddie after a 25 hour marathon series of games, stripping the challenger of $18,000 in winnings and leaving him exhausted and drunk on the floor. It is a hard fall, and as brutal as any suffered by any gladiator in the arena, and the middle part of the film concerns Eddie’s quest to get back on his feet, earn enough money, and take on Fats again. Along the way, he meets, Sarah Packard, a damaged young woman and begins a relationship with her, and ultimately makes an arrangement with Bert Gordon, a sharpie with a fat wallet who is willing to stake Eddie because he knows he has talent, if not character. But while Eddie has a chance at love with Sarah, his real passion is the game, and Bert is determined to protect his investment by getting rid of the competition. It does not end well for Sarah, and the sadly wiser Fast Eddie gets what he wants, a rematch with Fats, and a settling of accounts with Bert. In the end, Eddie Felson is a success, but was the price worth it, that is the question the movie asks and it has been challenging audiences ever since.
More than its weighty themes, THE HUSTLER is a masterpiece of subtle film making, and its centerpiece is Eddie and Fats’ initial clash around the pool table, a sequence that takes up nearly a quarter of the film’s more than two hour running time. The genius of it is that you don’t have to know much about the game to follow what is happening, but it is the interaction between the characters that is what bears watching, as money changes hands, signals are sent, liquor is drunk, and how simply the washing of hands, the putting on of a coat, and the picking up of a pool cue is tantamount to putting on a sword and a shield and going into battle. It is in the way Bert Gordon sits like an Emperor in the Ames pool hall, and how he gets up and moves his chair two inches and then sits back down when a drunken Eddie tells him to move somewhere else. More than that, it is in the scene where Eddie has his thumbs broken after he hustles the wrong crew, thus making him a “cripple” like Sarah, and for the first time, he is dependent on someone else, and they both become better people for it. The picnic scene where Eddie talks to her about his love of the game and the satisfaction he gets just playing it better than anyone is a paean to true success, the kind that comes from within. There is the party in Louisville sequence, where the vapid and empty character of the well to do is made plain by the way they ignore a drunken Sarah as she lies on a bed, rolling her out of the way to retrieve a coat, or the how the homosexuality of the aristocratic Findley is suggested in the statues of satyrs and Greek Gods in his basement.
The heart and soul of THE HUSTLER lies in the casting of the four principles and the career best performances they give. Simply put, this is the film that made Paul Newman a superstar, it happens the moment when he flashes that great Golden Boy smile in the cold open scene. Fast Eddie Felson was a different kind of movie protagonist, the first of the wary anti heroes that would grace America’s movie screen as the 50’s faded into the rear view mirror and the popular culture began to more reflect the tensions in American life. Newman makes being tough and being vulnerable look sexy, and does things with this role that Frank Sinatra and Bobby Darin, who were considered for the part, could never have done. He was the front runner for the Best Actor Oscar that year, but lost to Maximilian Schell’s performance in JUDGMENT AT NUREMBURG, he would have to wait a quarter of a century before getting the award, which many consider a consolation Oscar, when he reprised Fast Eddie in Martin Scorsese THE COLOR OF MONEY. I think he should have gotten it the first time around. For those who only know Piper Laurie only as Carrie White’s mother, this movie will be a revelation, her Sarah Packard is Eddie’s true love, a lame woman who clings to her man even as she is losing him; her final scene in the hotel room with Bert, where a vile sexual act is committed, is not to be forgotten. Sarah was a role many big stars of the time would have passed on as inappropriate for their images. Laurie was rewarded with a well deserved Best Actress nomination for taking the risk. This was George C. Scott’s third movie, his Bert Gordon is shrewd and intelligent, but with no moral center whatsoever, he is the Satan of this particular hell, and Scott brings all his skills to the role, with that great voice getting to deliver some equally worthy dialogue; and nobody ever leaned in better than George C. Scott. Jackie Gleason was simply a force of nature, very familiar to audiences in 1961 from his time on TV, especially from THE HONEYMOONERS, but he had spent his many years honing a larger than life persona, and a reputation as a man who enjoyed the finer things in life. All of that is in his portrayal of Minnesota Fats, and it reminds us that this man who’s other great movie role is Buford T. Justice, was one hell of a dramatic actor, if there are any doubts, just watch him in REQUIM FOR A HEAVYWEIGHT, made the next year. Murray Hamilton, who will forever be Mayor Larry Vaughn from JAWS, is the smarmy Findley; some might remember that he and Myron McCormick, who plays Eddie’s partner, Charlie, were in NO TIME FOR SERGEANTS only a few years before. And there is a direct Scorsese connection in that the Raging Bull himself, Jake LaMotta, has a cameo as a bartender.
There are some behind the scenes heroes of THE HUSTLER, starting with the director and screen writer, Robert Rossen, who spent some time in the 50’s away from Hollywood because of the McCarthy blacklisters. A onetime member of the Communist Party, he had appeared before Congressional investigators and named names. Some of this finds its way into the story in the way Fast Eddie must make a deal with the devil in form of Bert in order to do what he loves to do best. Rossen had been something of a pool hustler himself in his younger days, long before finding success as a script writer at Warner Brothers and directing such classics as BODY AND SOUL and ALL THE KING’S MEN. This project was his big comeback and he made the most of it, turning it into his greatest critical and financial success. Sadly, it would be his last one, as he made only one more movie before dying much too soon in 1966. And THE HUSTLER would be nothing without the contribution of pool champion Willie Mosconi, who taught the game to Newman before production started, did some of the trick shots himself with the help of editor Dede Allen, and has a cameo as “Willie,” the man who holds the money at Ames Pool Hall.
Scorsese’s sequel, which came out in 1986, picked up the story of Fast Eddie 25 years later, and though it took its title, THE COLOR OF MONEY, from Walter Tevis’s official follow up novel, the sequel did not use the plot of the book, but instead told the story of an older Fast Eddie, who is drawn back to the game he loves when he meets a talented kid, played by Tom Cruise, who is just as deficient in character as Eddie was at his age. My only complaint about Scorsese’s follow up, is that it had so few call backs to the original film, that many young viewers in the 80’s and later would watch MONEY over and over completely unaware that Fast Eddie had first made his appearance on the scene in 1961; their loss.
The DVD special edition is an excellent version, complete with many extras and a commentary track; the transfer is well done, preserving the effect of Cinemascope, which made the pool rooms seem enormous, something seldom done in a B/W movie. My only complaint that the commentaries by various parties – Carol Rossen, Dede Allen, critic Richard Schickel, actor Stefan Giersach, and briefly, Newman himself – do not do a scene by scene breakdown. No matter, it is the definitive version of this classic.
And after all these years, THE HUSTLER still speaks to us, especially to those who see it for the first time. Don’t be turned off by the B/W, watch it and meet Fast Eddie and Minnesota Fats, Bert Gordon and Sarah Packard. They still have a lot to tell us.
Most know the plot, of how cocky young pool hustler, Fast Eddie Felson, comes to New York City to challenge the legendary champ, Minnesota Fats, to a game of straight pool in Fats’ regular haunt. It’s youth challenging experience, and though Fast Eddie may well have the raw talent to beat Fats, he does not have the sense to know when to quit while he is ahead, and Fats utterly humiliates Eddie after a 25 hour marathon series of games, stripping the challenger of $18,000 in winnings and leaving him exhausted and drunk on the floor. It is a hard fall, and as brutal as any suffered by any gladiator in the arena, and the middle part of the film concerns Eddie’s quest to get back on his feet, earn enough money, and take on Fats again. Along the way, he meets, Sarah Packard, a damaged young woman and begins a relationship with her, and ultimately makes an arrangement with Bert Gordon, a sharpie with a fat wallet who is willing to stake Eddie because he knows he has talent, if not character. But while Eddie has a chance at love with Sarah, his real passion is the game, and Bert is determined to protect his investment by getting rid of the competition. It does not end well for Sarah, and the sadly wiser Fast Eddie gets what he wants, a rematch with Fats, and a settling of accounts with Bert. In the end, Eddie Felson is a success, but was the price worth it, that is the question the movie asks and it has been challenging audiences ever since.
More than its weighty themes, THE HUSTLER is a masterpiece of subtle film making, and its centerpiece is Eddie and Fats’ initial clash around the pool table, a sequence that takes up nearly a quarter of the film’s more than two hour running time. The genius of it is that you don’t have to know much about the game to follow what is happening, but it is the interaction between the characters that is what bears watching, as money changes hands, signals are sent, liquor is drunk, and how simply the washing of hands, the putting on of a coat, and the picking up of a pool cue is tantamount to putting on a sword and a shield and going into battle. It is in the way Bert Gordon sits like an Emperor in the Ames pool hall, and how he gets up and moves his chair two inches and then sits back down when a drunken Eddie tells him to move somewhere else. More than that, it is in the scene where Eddie has his thumbs broken after he hustles the wrong crew, thus making him a “cripple” like Sarah, and for the first time, he is dependent on someone else, and they both become better people for it. The picnic scene where Eddie talks to her about his love of the game and the satisfaction he gets just playing it better than anyone is a paean to true success, the kind that comes from within. There is the party in Louisville sequence, where the vapid and empty character of the well to do is made plain by the way they ignore a drunken Sarah as she lies on a bed, rolling her out of the way to retrieve a coat, or the how the homosexuality of the aristocratic Findley is suggested in the statues of satyrs and Greek Gods in his basement.
The heart and soul of THE HUSTLER lies in the casting of the four principles and the career best performances they give. Simply put, this is the film that made Paul Newman a superstar, it happens the moment when he flashes that great Golden Boy smile in the cold open scene. Fast Eddie Felson was a different kind of movie protagonist, the first of the wary anti heroes that would grace America’s movie screen as the 50’s faded into the rear view mirror and the popular culture began to more reflect the tensions in American life. Newman makes being tough and being vulnerable look sexy, and does things with this role that Frank Sinatra and Bobby Darin, who were considered for the part, could never have done. He was the front runner for the Best Actor Oscar that year, but lost to Maximilian Schell’s performance in JUDGMENT AT NUREMBURG, he would have to wait a quarter of a century before getting the award, which many consider a consolation Oscar, when he reprised Fast Eddie in Martin Scorsese THE COLOR OF MONEY. I think he should have gotten it the first time around. For those who only know Piper Laurie only as Carrie White’s mother, this movie will be a revelation, her Sarah Packard is Eddie’s true love, a lame woman who clings to her man even as she is losing him; her final scene in the hotel room with Bert, where a vile sexual act is committed, is not to be forgotten. Sarah was a role many big stars of the time would have passed on as inappropriate for their images. Laurie was rewarded with a well deserved Best Actress nomination for taking the risk. This was George C. Scott’s third movie, his Bert Gordon is shrewd and intelligent, but with no moral center whatsoever, he is the Satan of this particular hell, and Scott brings all his skills to the role, with that great voice getting to deliver some equally worthy dialogue; and nobody ever leaned in better than George C. Scott. Jackie Gleason was simply a force of nature, very familiar to audiences in 1961 from his time on TV, especially from THE HONEYMOONERS, but he had spent his many years honing a larger than life persona, and a reputation as a man who enjoyed the finer things in life. All of that is in his portrayal of Minnesota Fats, and it reminds us that this man who’s other great movie role is Buford T. Justice, was one hell of a dramatic actor, if there are any doubts, just watch him in REQUIM FOR A HEAVYWEIGHT, made the next year. Murray Hamilton, who will forever be Mayor Larry Vaughn from JAWS, is the smarmy Findley; some might remember that he and Myron McCormick, who plays Eddie’s partner, Charlie, were in NO TIME FOR SERGEANTS only a few years before. And there is a direct Scorsese connection in that the Raging Bull himself, Jake LaMotta, has a cameo as a bartender.
There are some behind the scenes heroes of THE HUSTLER, starting with the director and screen writer, Robert Rossen, who spent some time in the 50’s away from Hollywood because of the McCarthy blacklisters. A onetime member of the Communist Party, he had appeared before Congressional investigators and named names. Some of this finds its way into the story in the way Fast Eddie must make a deal with the devil in form of Bert in order to do what he loves to do best. Rossen had been something of a pool hustler himself in his younger days, long before finding success as a script writer at Warner Brothers and directing such classics as BODY AND SOUL and ALL THE KING’S MEN. This project was his big comeback and he made the most of it, turning it into his greatest critical and financial success. Sadly, it would be his last one, as he made only one more movie before dying much too soon in 1966. And THE HUSTLER would be nothing without the contribution of pool champion Willie Mosconi, who taught the game to Newman before production started, did some of the trick shots himself with the help of editor Dede Allen, and has a cameo as “Willie,” the man who holds the money at Ames Pool Hall.
Scorsese’s sequel, which came out in 1986, picked up the story of Fast Eddie 25 years later, and though it took its title, THE COLOR OF MONEY, from Walter Tevis’s official follow up novel, the sequel did not use the plot of the book, but instead told the story of an older Fast Eddie, who is drawn back to the game he loves when he meets a talented kid, played by Tom Cruise, who is just as deficient in character as Eddie was at his age. My only complaint about Scorsese’s follow up, is that it had so few call backs to the original film, that many young viewers in the 80’s and later would watch MONEY over and over completely unaware that Fast Eddie had first made his appearance on the scene in 1961; their loss.
The DVD special edition is an excellent version, complete with many extras and a commentary track; the transfer is well done, preserving the effect of Cinemascope, which made the pool rooms seem enormous, something seldom done in a B/W movie. My only complaint that the commentaries by various parties – Carol Rossen, Dede Allen, critic Richard Schickel, actor Stefan Giersach, and briefly, Newman himself – do not do a scene by scene breakdown. No matter, it is the definitive version of this classic.
And after all these years, THE HUSTLER still speaks to us, especially to those who see it for the first time. Don’t be turned off by the B/W, watch it and meet Fast Eddie and Minnesota Fats, Bert Gordon and Sarah Packard. They still have a lot to tell us.
Christian Krusch
5つ星のうち5.0
Erfreuliche Überraschung beim UK-Import
2018年1月13日にドイツでレビュー済みAmazonで購入
WIE GEIL!!! Ich war nicht bereit, 30 oder gar 60 Euro für die "deutsche" Bluray zu bezahlen und habe den UK-Import mit deutschen Untertiteln bestellt. Weil auf der Hülle nur englische Untertitel angegeben waren, wollte ich die Disk schon ungeöffnet zurückschicken. Ich hab's dann doch probiert und siehe da: Alle Untertitel plus Ton in deutsch, französisch, spanisch, portugiesisch! Der Hammer!!! (Sorry, ich bin sonst auch sparsamer mit Ausrufezeichen.)
A How I my name's Terry thank you for the good just arrived today thank youmazon Customer
5つ星のうち5.0
Thanks very much for the goods
2018年8月3日にオーストラリアでレビュー済みAmazonで購入
Yeah it's a great movie thanks