Straßen der Nacht

Burt Reynolds really channels a young Marlon Brando in this film. He plays Lt. Phil Gains and is a cool character who doesn't like to get too close to people(he has a penchant for 30's style music and vernacular). He lives with his girlfriend, played by Catherine Deneuve, who happens to be a Call Girl but neither of them are willing to give up the dangers(mental and physical) of their careers. However, they dream about running off to Europe. It's as if they are afraid of what will happen if they do.

To sum it up, Gains is called in to investigate the body of a young girl found dead on a beach. It is ruled a suicide but the girl's parents, mainly her father, refuse to believe it. The father, played by actor Ben Johnson, is seeking revenge and Gains wants to be one step ahead of him.

To me, the standout in this film is actor Eddie Albert, who I've always had a crush on. This is probably the creepiest role he ever played. He's a lawyer with mob connections and won't let anyone stand in his way. He is also a client of Deneuve's character and grins ear-to-ear when talking about the dead girl and the pleasure he and friends got from her. We're talking HUGE creep factor here. In one scene he refers to the girl by saying "She could get milk out of a crowbar." Don't think I need to explain THAT line.

This film is the typical 1970's cop film with lounge jazz music playing over a car scene. Pretty tame by today's standards but did earn an R-rating. There is reference to a porno film that is supposed to feature Albert's character Leo Sellers(again pushing that creep factor up!). "Hustle" is probably one of Burt's more forgettable films but it is fun to see him take to a role so seriously after seeing him in Smokey and his other action films.

Burt Reynolds plays Phil Gaines, a middle-aged California cop plagued by a midlife crisis. His wife is seeing someone else, and he's in love with Nicole (lovely Catherine Deneuve), a prostitute. His job as cop entails endless frustrations not only with criminals but also with victim relatives, two of whom are Marty Hollinger (Ben Johnson) and Marty's wife Paula (Eileen Brennan), whose daughter was found dead on the beach. And the case is Phil's to investigate.

Some viewers will object to the film's admittedly slow pace. And the film does have a problem, but I don't think it's the pace. I think the problem here is that the script doesn't give us enough reason to care about Phil Gaines and his life as a cop. That he dates a prostitute does not help. There's also insufficient back-story about him. Except for his love life, we really don't get to know him very well, certainly not well enough to foreshadow the film's implausible double climax.

Perhaps the script's biggest flaw, however, is its lack of focus. Too much screen time is given to the Marty Hollinger character and his silly efforts to solve the case of his daughter's death, on his own. Whose story is this: Phil Gaines' or Marty Hollinger's?

But "Hustle" is not a bad movie, really it isn't. The casting and acting are fine. I thought Eileen Brennan especially gave a memorable performance. The film's production design is good. And color cinematography is terrific. I really liked those outdoor scenes on the deck where Phil and Nicole chat about life and love, with "Yesterday When I Was Young" playing in the background. Such scenes convey a melancholy, nostalgic mood, consistent with Phil's midlife crisis.

Although the screenplay is flawed, "Hustle" is still worth watching at least once, for the underlying character study of a cop in midlife crisis, for the fine acting, and for the film's excellent cinematography and production values.

Hustle is a terrific film with a a really nice performance by the always under used (the late great) Paul Winfield, he and Burt Reynolds work well together and Eddie Albert is scary as the low life "leo sellers". the stunt the one reviewer is talking about re: albino actor falling from high rise while blasting his pistol into camera is the late great, Dar Robinson from Reynolds' other film, "stick" in the early eighties. i'm glad this is on DVD now and finally a Reinold's' film that is letter boxed. i hope they can re-do the other films IE: "white lightning", "gator" and "shamus" in letterbox form especially "gator" cause it was shot in Todd A-O scope.

Great, underrated film noir, expertly written, master class of the genre. Begs to be rediscovered. If you are a purist of noir, then this is a gift to you, courtesy of Aldrich. There is so much more to Burt Reynolds than people give him credit, and he proves it here. I may be alone in this, but i got the impression the film was lit for black and white and comes off badly in colour - the contrast is too extreme, and ultimately works against the film. Curiously, when i tuned it to b/w it looked incredible - as moody and mean as Aldrich would would have intended. And Deneuve isn't as bad as the critics made out. if you love noir and have a problem with this film, i can't begin to understand why.

Nope, the movie with that amazing stunt mentioned above is "Stick", not "Hustle". "Hustle" is a nice little film, though - a fairly predictable TV cop movie plot, lifted well above the ordinary by some intelligent well-written dialogue and a nice, world-weary performance by Burt Reynolds (honest!).

Around the same time, the director also made "Ulzana's Raid" and "Twilight's Last Gleaming", both of which are deeply critical of the Establishment. True to form, in "Hustle", Reynolds' cynical detective takes some savage swipes at American society. Best line - "Can't you smell the bananas? We're living in f*cking Guatemala. With colour televisions." (The screenwriter also wrote "Save The Tiger" - with a very similar moral).

Well worth watching on late-night telly - NOT worth watching for Catherine Deneuve, who's remarkably wooden in English.