Hustle

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.

Having collaborated on "The Longest Yard", director Robert Aldrich cast Burt Reynolds and Eddie Albert again in the enigmatic "Hustle". Reynolds plays LA cop Phil Gaines. He and his wife have basically no relationship, so Phil lives with call girl Nicole Britton (Catherine Deneuve). When a young woman gets found dead on the beach one day, Phil and his colleague Louis Belgrave (Paul Winfield) get hired to investigate. They conclude that she died of a self-induced drug overdose. But they don't tell her parents (Ben Johnson and Eileen Brennan) that there were massive amounts of semen in all three orifices of the woman's body, and that the woman was a stripper in a nightclub. The father is convinced that this was not a suicide, and is determined to investigate on his own if necessary.

I have to say that the movie has a rather convoluted plot: the number of characters - and the question of each character's relationship to each other - makes the whole thing hard to follow at times. As it is, following the revelation of the body at the beginning, the movie sort of throws Phil into the story from right out of the blue. It seems that mostly, the movie functions as a look at the underbelly of 1970s LA, including a hostage situation in one scene. And, if all else fails, there's always something sexy for Catherine Deneuve to do (namely the part about what Switzerland has). A surprise appearance - although they do credit him - is Ernest Borgnine as Phil and Louis's superior; he's the only character who seems as if he's about to have a seizure or something.

Overall, I think that the movie is seeing, if only once. While it is true that the movie progresses pretty slowly, I actually would assert that that adds some realism: not every detective/action story has to be a series of explosions and mayhem.

All in all, a worthwhile movie. BTW, did you notice who the hold up man at the end is? It's Freddy Krueger himself, Robert Englund. And I wonder if David Spielberg is related to Steven Spielberg.

Sammy Davis Jr. hugging Nixon...

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.

'Hustle' is an overlooked film, though it is easy to see why.

Stylistically it is very low-key with no notable flourishes or tricksiness. It boasts little in the way of 'action'. A hostage situation sequence seems to have been added purely to provide something in that line for fidgety Burt fans. It is profoundly cynical and resolutely (almost excessively) downbeat. But it is also very thoughtful, atmospheric, well acted and absorbing. A kind of modern dress companion piece to 'Chinatown'. And whilst not quite achieving the force and subtlety of that film, it remains highly creditable.

Reynolds is effective as the world weary cop in love with a French prostitute, a cipher whom Deneuve turns into a real person. Her character represents some sort of unattainable, glamorous continental dream to the policeman. This idea is explored and reinforced by numerous references and allusions to European cinema, culture and locale.

Burt looks uncannily like a youthful Brando and brings great restraint to a role which could have been horribly over-played. Ben Johnson, Eileen Brennan and Paul Winfield also all give good performances as beaten, screwed-up people. The outstanding turn, though, comes from Edward Albert as Leo Sellers, a wealthy and powerful businessman with dubious tastes and connections. This character is key to Steve Shagan's screenplay in the same way that John Huston's Noah Cross was to Robert Towne's 'Chinatown'. A persona symbolic of corruption and degeneracy, but also integral to the prosperity of the society he is such a part of. Sellers is a refined, intelligent man with a keen eye for people's weak spots and fingers deft enough to push all of their buttons at once. Mr. Albert brings him to life with a palpable evil.

'Hustle' is a film that I like to reacquaint myself with from time to time. Whilst Shagan's script is occasionally a tad overblown and too fruity for its own good, there are some great lines and moments. For me, it's noirish exploration of thwarted romanticism is pretty much irresistible.

A minor classic.