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L'arnaqueur

Titre original : The Hustler
  • 1961
  • 14+
  • 2h 14m
ÉVALUATION IMDb
7,9/10
89 k
MA NOTE
POPULARITÉ
4 573
534
Paul Newman in L'arnaqueur (1961)
Trailer 1
Liretrailer3 min 19 s
2 vidéos
99+ photos
DrameSport

Un joueur de billard prometteur défie un champion de longue date dans un match unique avec des enjeux très élevés.Un joueur de billard prometteur défie un champion de longue date dans un match unique avec des enjeux très élevés.Un joueur de billard prometteur défie un champion de longue date dans un match unique avec des enjeux très élevés.

  • Director
    • Robert Rossen
  • Writers
    • Sidney Carroll
    • Robert Rossen
    • Walter Tevis
  • Stars
    • Paul Newman
    • Jackie Gleason
    • Piper Laurie
  • Voir l’information sur la production à IMDbPro
  • ÉVALUATION IMDb
    7,9/10
    89 k
    MA NOTE
    POPULARITÉ
    4 573
    534
    • Director
      • Robert Rossen
    • Writers
      • Sidney Carroll
      • Robert Rossen
      • Walter Tevis
    • Stars
      • Paul Newman
      • Jackie Gleason
      • Piper Laurie
    • 258Commentaires d'utilisateurs
    • 119Commentaires de critiques
    • 90Métascore
  • Voir l’information sur la production à IMDbPro
    • A remporté 2 oscars
      • 13 victoires et 21 nominations au total

    Vidéos2

    The Hustler
    Trailer 3:19
    The Hustler
    The Hustler: Two-Disc Collector's Edition (Clip 1)
    Clip 1:32
    The Hustler: Two-Disc Collector's Edition (Clip 1)
    The Hustler: Two-Disc Collector's Edition (Clip 1)
    Clip 1:32
    The Hustler: Two-Disc Collector's Edition (Clip 1)

    Photos110

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    + 102
    Voir l’affiche

    Rôles principaux37

    Modifier
    Paul Newman
    Paul Newman
    • Eddie Felson
    Jackie Gleason
    Jackie Gleason
    • Minnesota Fats
    Piper Laurie
    Piper Laurie
    • Sarah Packard
    George C. Scott
    George C. Scott
    • Bert Gordon
    Myron McCormick
    Myron McCormick
    • Charlie Burns
    Murray Hamilton
    Murray Hamilton
    • Findley
    Michael Constantine
    Michael Constantine
    • Big John
    Stefan Gierasch
    Stefan Gierasch
    • Preacher
    Clifford A. Pellow
    • Turk
    • (as Cliff Pellow)
    Jake LaMotta
    Jake LaMotta
    • Bartender
    Gordon B. Clarke
    Gordon B. Clarke
    • Cashier
    Alexander Rose
    • Score Keeper
    Carolyn Coates
    • Waitress
    Carl York
    • Young Hustler
    Vincent Gardenia
    Vincent Gardenia
    • Bartender
    William Adams
    William Adams
    • Old Doctor
    • (uncredited)
    Tom Ahearne
    • Bartender
    • (uncredited)
    Charles Andre
    • Waiter at Parisien Restaurant
    • (uncredited)
    • Director
      • Robert Rossen
    • Writers
      • Sidney Carroll
      • Robert Rossen
      • Walter Tevis
    • Tous les acteurs et membres de l'équipe
    • Production, box office et plus encore chez IMDbPro

    Commentaires des utilisateurs258

    7,989.4K
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    Avis en vedette

    10dballred

    The Definitive Movie About Pool

    This is, without a doubt, the closest anything out of Hollywood ever came to touching the soul of a pool player. Paul Newman plays "Fast Eddie" Felson, a young player from California who travels east to take on the ultimate challenge: to beat "Minnesota Fats," played by the late Jackie Gleason.

    Willie Mosconi, probably the greatest pool player who ever walked the Earth, was technical adviser and choreographed many of the game sequences. On technical merit alone, this film is a pool player's classic. Beyond that, however, the way "Fast Eddie" takes to his skills and relationships pushes this film out as a classic for the general audience. In one scene, he is describing what it is like to be really good at something. It is one of the best speeches about excellence I have ever heard. This is one of my top three films. On a scale of ten, I give it an eleven.
    Michael_Elliott

    Some of the Best Acting You'll Ever See

    The Hustler (1961)

    **** (out of 4)

    'Fast' Eddie Felson (Paul Newman) shows up to play the legendary Minnesota Fats (Jackie Gleason) in a game of pool and soon the hotshot realizes that there's more to winning than just talent. After some time off the hustler winds up with a woman (Piper Laurie) who suffers from alcohol abuse but even worse is when he teams up with a gambler (George C. Scott).

    Robert Rossen's THE HUSTLER is without question one of the greatest films of its type. Most people are connected to it because of its story of a hustler and the gambling aspect but there are some of the greatest performances you're ever going to see on display here as well as a pretty depressing look at losers. Throughout the movie Felson is constantly called a loser, which is a term that fits the majority of the characters in this rather grim, dark and depressing film.

    For me the greatest thing here are the performances with Newman easily leading the way. It's easy to see why this is the film that turned Newman into a superstar. Up until this point he had played a fair share of troubled rebels but everything in him just came together for this role. He's certainly very believable as this young guy who can't seem to stay out of his own way when it comes to trouble. This is a very troubled character and the actor perfectly nails every aspect of it. Gleason will always be known as a comedic actor but he could nail drama when he needed and this is the perfect example. It certainly doesn't hurt that the two actors were also great pool players and this brings a real nature to the film.

    Laurie is rather heart-breaking in her role as the drunk and then you've got Scott playing one of the biggest snakes in film history. There's no question that his Burt character is one of the great villains in film history. Myron McCormick is excellent in his small role and then you've got a young Murray Hamilton. THE HUSTLER also benefits from some wonderful cinematography that perfectly captures this pool world. I mean, has there ever been a better example of why B&W is so great? Add in the terrific score and you've really got something special.

    THE HUSTLER is a classic film that constantly gets better each time you view it.
    10coop-16

    Superb film by a great director.

    Because of his tragically erratic, often interrupted career, Robert Rossen is rarely put into the pantheon of great Hollywood directors. However, he produced three films which deserve a permanent place among the classics, All the Kings Men( probably the best film about American politics), Lilith( one of the greatest films about mental illness) and this, a movie which DESERVES to be ranked with the hundred greatest, and possibly the fifty greatest, American films. It is superbly acted, brilliantly photographed and edited, and directed with clarity and assurance. In a just world ( if there is such a place), an special Oscar would have been bestowed on Newman, Laurie, Scott, and Gleason AS A GROUP. Piper Laurie was unforgettably poignant, Scott unforgettably sleazy, and Gleason... well, Gleason simply IS Minnesota Fats. Paul Newman almost certainly deserved the Oscar.It was an amusing irony, perhaps a little joke by God, that the bartender in the movie was played by none other than Jake LaMotta.
    10Cue-ball

    More praise heaped onto enduring classic

    I've seen The Hustler repeated times, thought not as many as some of the other commentators. Recently I saw it for the first time in the theater, at the Alamo Drafthouse in Austin. Watching "The Hustler" in a theater is like listening to Dave Brubeck's "Time Out" album: you start to see and even hear things in black and white. You know the pool tables are green, and the balls are multi-colored, but somehow the black and white perfectly matches the colorless existence of the protagonist and his supporting players. You can smell the cigarettes, taste the booze.

    Newman, Gleason, Scott, and Laurie all turn in great performances. But this movie, made after the heyday of the studio players' contract, still bears the hallmark of great movies from that era: strong supporting performances all the way down the line. Vincent Gardenia, for pete's sake, as the unlucky bartender in the first scene! Michael Constantine as Big John. Myron McCormick as Charlie, Eddie's sponsor most of the way through the movie. And Murray Hamilton as the millionaire Southern mark. This movie was made when supporting roles were an end in themselves, by actors who believed every second they were on screen should be of high quality.

    The day I wrote this review -- January 18, 2004 -- The Hustler was no. 143 on the Top 250 list. No way are there 142 better movies.
    stryker-5

    "We Have A Contract Of Depravity"

    "The Hustler" is steeped in the seedy atmosphere of smoke-filled pool halls in the ugly urban hinterland of America. The Ames Billiard Hall is funereal in feel. When 'Fast Eddie' Felson walks in with Charlie, his manager, Charlie remarks, "These tables are the slabs they lay the stiffs on." The film is about the talented men who perform, but equally about the talentless predators who exploit them. The habitues of the pool hall cling to the shadows. They wince when a blind is opened and sunlight gets in. A new hustler enters, and these vultures gather silently on the margins.

    Eddie is the youngster hungry for glory. He and Charlie pose as salesmen and Eddie feigns drunkenness, hooking the punters by repeating an almost-impossible shot. For all the slickness of the con, Eddie is impatient for bigger things. He wants to challenge Minnesota Fats, the best hustler in the land.

    Newman gets his name above the title, but this is a film with four exquisite pieces of acting. Jackie Gleason as Minnesota, Piper Laurie as Sarah and George C Scott, playing Bert Gordon, turn in wonderful performances.

    Eddie matures as the story progresses. He starts as a cheap chiseller, hustling ten bucks, but ambition carries him to Louisville and the world of the high rollers. Sarah's love opens emotional dimensions in him which he previously lacked. Bert Gordon confronts him with his own spiritual inadequacies, forcing him to understand himself. Eddie is jejune in the first game against the Fat Man, but by the second meeting he is emotionally strong, and completely his own man. He has made the spiritual journey from the whining "everybody wants a piece of me" to the inner knowledge that Sarah bequeathed him - that only those who give can truly live.

    Bert Gordon, with his dark glasses and hawkish features, is a creature of the night. Loving the 'action' of a clash of talents, but lacking any talent of his own, Gordon is the predator on the sidelines. Hearing of the new hustler's presence, Gordon arrives soundlessly and sits watching intently for hours. His dark genius sees the weakness in every soul. In the bar, when he and Eddie talk business, Gordon is foreshortened to look tiny alongside the talented youngster. For all his money and sharp wits, Gordon will never be more than a parasite living off the ability of others. Finally, Eddie and Fats walk into the sunlight, heroes who have proved themselves. Gordon remains perched on his gloomy barstool, a prisoner in his own dark kingdom.

    If Sarah is the vulnerable, physically-disabled woman who relies on drink too heavily, the victim of the men she encounters, she is also the heart of the movie. She destroys Gordon's certainty and she shows Eddie the meaning of love. Her tragedy is Eddie's salvation. She and Eddie find each other in a deserted bus station in the dead hours. They are both lost souls, Citizens of Hell. She is the deformed girl with the empty life, and he is the emotional cripple with no resources of education or character to sustain him. They cling to each other as if shipwrecked. When the seduction comes, Sarah hesitates. She knows this will lead to suffering. "Why me?" she asks, then surrenders to her fate.

    The time when Eddie's hands are in plaster is Sarah's brief season of happiness. She stops drinking and even makes progress with her writing. Somebody needs her, belongs completely to her. It cannot last.

    "I made you up, Eddie," Sarah tells him, and in a sense she did. She imagined him to be loyal and stable. On the night when the truth dawns, Sarah goes from feeling pretty in her new dress to being a rain-sodden wreck. She is supplanted in Eddie's attention by the sinister Gordon, who asserts the new power-balance in the railroad dining-car. The hotel suites are adjoining, and though Sarah closes all the doors, she can't keep Gordon out. By Findlay's party, she has hit the bottle again. The patterned dress which Eddie bought her, a symbol of her incarceration, has the shadow of the ballustrade projected onto it, seemingly magnifying her sense of ensnarement.

    Though Jackie Gleason does very little in this film, he dominates it. On screen for a fraction of the film's totality, and having neither great speeches nor grand gestures, he impresses by his sheer presence. Stillness, self-containment and an ironic amusement make Minnesota Fats the perfect foil for the angry, ambitious Eddie. In the final showdown, Fats' quiet poise outshines the grandstanding of the others. Gleason conveys beautifully the fear at the core of this big dandy. When Eddie has him in trouble, the Fat Man begins to lose his sartorial integrity as his confidence unravels.

    This contrast of stillness and motion is effective in the first meeting of the hustlers. Fats and Gordon, who know what they are about, remain motionless and tranquil. Eddie the incontinent wannabe gradually loses control of both mouth and limbs. The film is rich in symbolic language. The cheap rooms which Eddie rents are mere boxes for hire, like the bus station locker which he lives out of. When he and Sarah meet for the second time, the inevitability of their coupling is conveyed in a scene without words or gestures. Eddie's plastercasts are manacles - without his hands, he is nothing. A sumptuous restaurant and a happy couple are transformed when the brutal truth emerges. The camera angle is reversed, and Eddie and Sarah are now separated by gaunt shelves of crockery. The illusion has been shattered. When Eddie sneaks out on the sleeping Sarah with the stake money in his hand, it is the betrayal of Charlie re-enacted.

    A marvellous film is enhanced by a superbly sleazy jazz score (Kenyon Hopkins) and the violence is all the more gut-wrenching for being suggested, rather than shown.

    Verdict - probably a masterpiece.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Paul Newman and Jackie Gleason established a friendship on the set. At one point, Newman got a little cocky about his newfound pool skills and challenged the much more experienced Gleason to a $50 bet on a game. Newman broke, then it was Gleason's turn. He knocked all 15 balls in and Newman never got another shot. Gleason recalled that the next day Newman paid him off with 5000 pennies.
    • Gaffes
      During the last pool match, second game, Minnesota Fats has taken his jacket off, loosened his tie and unbuttoned his vest, but one subsequent shot shows him with his tie tightened and wearing a buttoned vest and jacket.
    • Citations

      [Fast Eddie is bothered because Bert called him a born loser]

      Fast Eddie: Cause, ya see, twice, Sarah... once at Ames with Minnesota Fats and then again at Arthur's, in that cheap, crummy pool room, now why'd I do it, Sarah? Why'd I do it? I coulda beat that guy, coulda beat 'im cold, he never woulda known. But I just hadda show 'im. Just hadda show those creeps and those punks what the game is like when it's great, when it's REALLY great. You know, like anything can be great, anything can be great. I don't care, BRICKLAYING can be great, if a guy knows. If he knows what he's doing and why and if he can make it come off. When I'm goin', I mean, when I'm REALLY goin' I feel like a... like a jockey must feel. He's sittin' on his horse, he's got all that speed and that power underneath him... he's comin' into the stretch, the pressure's on 'im, and he KNOWS... just feels... when to let it go and how much. Cause he's got everything workin' for 'im: timing, touch. It's a great feeling, boy, it's a real great feeling when you're right and you KNOW you're right. It's like all of a sudden I got oil in my arm. The pool cue's part of me. You know, it's uh - pool cue, it's got nerves in it. It's a piece of wood, it's got nerves in it. Feel the roll of those balls, you don't have to look, you just KNOW. You make shots that nobody's ever made before. I can play that game the way... NOBODY'S ever played it before.

      Sarah Packard: You're not a loser, Eddie, you're a winner. Some men never get to feel that way about anything.

    • Connexions
      Featured in Portrait of an Actor (1971)
    • Bandes originales
      Louisville Dixieland
      (1961) (uncredited)

      Music by Dan Terry

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    FAQ

    • How long is The Hustler?Propulsé par Alexa
    • Is "The Hustler" based on a book?
    • Any recommendation for other pool-playing movies like "The Hustler"?

    Détails

    Modifier
    • Date de sortie
      • 25 septembre 1961 (United States)
    • Pays d’origine
      • United States
    • Langue
      • English
    • Aussi connu sous le nom de
      • The Hustler
    • Lieux de tournage
      • Edison Studio, Ville de New York, New York, États-Unis(Studio)
    • société de production
      • Rossen Films
    • Consultez plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 2 125 000 $ US (estimation)
    • Brut – à l'échelle mondiale
      • 8 072 $ US
    Voir les informations détaillées sur le box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 14 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 2.35 : 1

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