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Rischiose abitudini

Titolo originale: The Grifters
  • 1990
  • VM14
  • 1h 50min
VALUTAZIONE IMDb
6,9/10
32.338
LA TUA VALUTAZIONE
John Cusack, Annette Bening, and Anjelica Huston in Rischiose abitudini (1990)
Home Video Trailer from Miramax
Riproduci trailer1: 41
2 video
71 foto
CrimineDrammaThrillerTragedia

Un piccolo truffatore non sa se rimanere leale alla madre estraniata o alla nuova fidanzata, entrambe truffatrici ad alto rischio con i propri imbrogli da mettere in atto.Un piccolo truffatore non sa se rimanere leale alla madre estraniata o alla nuova fidanzata, entrambe truffatrici ad alto rischio con i propri imbrogli da mettere in atto.Un piccolo truffatore non sa se rimanere leale alla madre estraniata o alla nuova fidanzata, entrambe truffatrici ad alto rischio con i propri imbrogli da mettere in atto.

  • Regia
    • Stephen Frears
  • Sceneggiatura
    • Jim Thompson
    • Donald E. Westlake
  • Star
    • Anjelica Huston
    • John Cusack
    • Annette Bening
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,9/10
    32.338
    LA TUA VALUTAZIONE
    • Regia
      • Stephen Frears
    • Sceneggiatura
      • Jim Thompson
      • Donald E. Westlake
    • Star
      • Anjelica Huston
      • John Cusack
      • Annette Bening
    • 125Recensioni degli utenti
    • 69Recensioni della critica
    • 86Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 4 Oscar
      • 11 vittorie e 21 candidature totali

    Video2

    The Grifters
    Trailer 1:41
    The Grifters
    5 Forgotten Gems From 1990
    Clip 4:04
    5 Forgotten Gems From 1990
    5 Forgotten Gems From 1990
    Clip 4:04
    5 Forgotten Gems From 1990

    Foto71

    Visualizza poster
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    Interpreti principali41

    Modifica
    Anjelica Huston
    Anjelica Huston
    • Lilly Dillon
    John Cusack
    John Cusack
    • Roy Dillon
    Annette Bening
    Annette Bening
    • Myra Langtry
    Jan Munroe
    Jan Munroe
    • Guy at Bar
    Robert Weems
    • Racetrack Announcer
    • (voce)
    Stephen Tobolowsky
    Stephen Tobolowsky
    • Jeweler
    Jimmy Noonan
    Jimmy Noonan
    • Bartender
    Richard Holden
    • Cop
    Henry Jones
    Henry Jones
    • Simms
    Michael Laskin
    Michael Laskin
    • Irv
    Eddie Jones
    Eddie Jones
    • Mintz
    Sandy Baron
    Sandy Baron
    • Doctor
    Lou Hancock
    Lou Hancock
    • Nurse
    Gailard Sartain
    Gailard Sartain
    • Joe
    Noelle Harling
    Noelle Harling
    • Nurse Carol Flynn
    Ivette Soler
    Ivette Soler
    • Maid
    Pat Hingle
    Pat Hingle
    • Bobo Justus
    Paul Adelstein
    Paul Adelstein
    • Sailor - Young Paul
    • Regia
      • Stephen Frears
    • Sceneggiatura
      • Jim Thompson
      • Donald E. Westlake
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti125

    6,932.3K
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    Recensioni in evidenza

    7DennisLittrell

    Great cast amid some plot contrivances

    What Lilly Dillon (Anjelica Huston in a long tight dress) is doing in this movie is laying off a bookie's bets. But, like a lot else in this plot-challenged movie, it's not really realistic. The way it's suppose to work is this: the bookie takes in some big time money on a long shot. This understandably scares the bookie since the fix may be on (or the nag might win legitimately) and if so, he's out a whole lot of money. So to protect himself, HE bets on the nag (using a confederate at the track).

    This is called hedging. Hedging, whether in sports betting or in the stock or commodities markets works like an insurance policy. But it comes at a price. Take a simpler case. The Yankees are entertaining the Dodgers at Yankee Stadium. The line on the game is Yankees -200, that is, the Yankees are about a two to one favorite. If you want to bet on the Yankees you've got to put up $200 to win $100. If you bet on the Dodgers you put up $100 to win $200. (Actually, the "spread" or "vig" reduces that to $180.) Now suppose the bookie gets a couple of $10,000 bets on the Dodgers. Since his daily handle is usually about half that, he begins to sweat. Sure, he'll have a $20,000-day if the Yankees win, but what if the Dodgers win? Then he's out $36,000 dollars and maybe out of business. So what does he do? He hedges; that is he goes to a bigger bookie or to his Lilly in Las Vegas and lays off the action with a $20,000 bet on the Dodgers. Now if the Dodgers win he breaks even and lives to book another day. If the Yankees win, he still breaks even (instead of winning $20,000). But that's the price he pays for laying off, for hedging. Call it insurance.

    Now the problem with all this in the movie is that Lilly cannot be at every race track in the country. So for Director Stephen Frears to make the action plausible he needs to show that Lilly's regular job is to hang out in California (by the phone!) to cover the West Coast tracks in case a lot of strange money comes in that the bookie needs to lay off. Presumably this is what Lilly is doing in the movie. For more realism, Frears could have shown Lilly hanging by the phone, working for several bookies.

    Frears has a great cast and they do a fine job. But the plot contrivances keep this from being a really top notch noir flick. Worse stupidity is the scene in which Myra (Annette Bening) finds a motel key on her 100-plus key ring to open Lilly's motel door. Even though Lilly is on the run, apparently she doesn't bother with a second lock, or the chain lock. (Sure.) Second worse stupidity is Lilly sitting in the track's parking lot in full view of the grandstand overhead (although admittedly many feet away) with the trunk of her car open and a drawer full of money exposed for all the world to see. She doesn't have to play with her money in the parking lot. She can wait until she gets to her motel. But this contrivance allows Myra to see the money with binoculars. And as for Roy Dillon (John Cusack) hiding his money inside some strangely thick clown paintings in his living room...I don't think so. And Dillon finding one die on the floor of the dining room car of the train doesn't work either because later he has to "find" the other one (an action we don't see) so he can fleece the sailors with his loaded dice.

    Not all the action is unrealistic however. Roy Dillon's little hustle with the flashing of the twenty and the switch to the ten is an actual con done innumerable times; and the reaction of bar keep who catches Dillon in the act is perfect, illustrating how people who work at cash registers feel about people who work little cons on them. And the business beginning when Lilly doesn't lay off the money on "Troubadour," and hears the very sad news on the radio that the horse actually wins the race, and then gets punished by her boss, is realistic because he is out some serious money. By the way, a person in Lilly's position, in effect becomes a bookie herself, if she wants to. She can bet a little less on the nag and pocket the change when the nag loses, as the nag usually will. Of course if she bets nothing, the tote board odds don't go down and so the bookie will know. Worse is when she doesn't bet and the nag comes in. Now she has to pay the bookie out of her own money. In the case of Troubadour, a 70 to one shot, obviously she couldn't afford to pay off and so had to take a beating, literary. The dialogue between her and Bobo (Pat Hingle) is perfect if you understand that he knows that she steals a little, here and there.

    Be forewarned that the subplot is Oedipal and spicily played in parts. I'm sure Huston and Cusack had a few laughs off camera, but we are left not really knowing whether Lilly really is his mother or not. (Perhaps that's a good thing.)

    All in all there's some nice grifter atmosphere in the movie and Cusack is interesting as a baby-faced little hustler, and Bening is sleazy, sexy and desperate, while Huston is both fawning and cowardly, and sneaky strong. But see this for Huston who makes a complex character real.

    (Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)
    Chrysanthepop

    Play Nice. Don't Fight.

    Frears's 'The Grifters' is a bizarre noir-style disturbing thriller with dark undertones of themes such as despair, greed, incest and murder. Unlike most con thrillers, this one does not focus on tricks. Rather it focuses mainly on the characters. Lilly is in it big and she needs (or wants) money. Roy is frustrated and is in an ambivalent state. Myra, uses her weapon of seduction to have her way...including getting Roy back into the game. Then there's a fourth character, money. Which tangles them into a lethal web resulting in severely extreme consequences. It starts off a little slow as the three lead characters are introduced but the pace picks up in the proceedings. The twists and layers are well done as the viewers move back and forth into hating and liking the characters. The final sequence between Huston and Cusack is among the most unsettling scenes and it was brilliantly executed. Yet, 'The Grifters' is far from my favourite Frears film. I pretty much loved his other movies like 'High Fidelity', 'Dirty Pretty Things', 'Mrs. Hendersen Presents' and so on but I felt this movie lacked something even though I myself am a big sucker for weird movies. The three leads deliver solid performances. Cusack is finely restrained and quite intense. Bening is suitably perky, slutty and malicious. Huston is a knock out as she delivers a chilling performance. The score is quite low key (usually a piano track) except during dramatic sequences. The lighting has been well done. 'The Grifters' is intriguing and quite a departure from the usual con flick. In the end, it leaves an unsettling taste.
    6donaldricco

    not enough grift!

    Well, I have to say, with the three main actors, and all the excellent supporting actors, I thought this would really be my kind of film. But it wasn't. I think it was mostly me - I was wanting to watch a movie about grifting, maybe a dark version of "The Sting" or something like that. But this movie is true to it's title - it's about the grifters themselves, not the grift. And I really didn't care about these three that way. So, my rating is based more on what I wanted to see rather than what I actually saw. I needed more grift!!!
    robene24

    The things one does for money...unimagineable

    An interesting film. It depicts a lifestyle I have never been aware of. The sexual tension between John Cusack and Angelica Houston was amazing. The ending is indeed surprising and Houston does a good job of displaying her mixed emotions. The criminal element is cold and calculating. It shows you how one can be very detatched if need be for his or her own survival.
    9movieman_kev

    Anjelica steals the show

    Stephen Frears directs this amazing adaption of a Jim Thompson book, which deals with three grifters (a person who swindles one by means of deception or fraud) who are tied to each other relationship-wise. Roy Dillion (John Cusack) is a small town grifter recuperating after a punch in the stomach for being found cheating. He finds his loyalties torn between his girlfriend and estranged mother (Annette Benning and Anjelica Huston, respectively), both of which are big time high-stakes grifters. This film is tense, exiting, and well-acted, but make no mistake about it, even though Cusack is more or less the main character, this IS Anjelica Huston's movie through and through. Her acting in this seems to shine so brightly and generally be on a higher plateau than either Cusack or Benning can hope to ascend to in the film. One of my favorite movies.

    My Grade: A

    DVD Extras: Commentary with Director Stephen Frears, Screenwriter Donald Westlake and Actors John Cusack and Angelica Huston; 16 minute Making of featurette; The Jim Thompson Story featurette; Publicity and Production stills); and Trailers for "Serendipity", "High Fidelity", Grosse Point Blank", & "40 Days And 40 Nights"

    Eye Candy: The future Mrs. Warren Beatty shows everything

    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      In a late 2013 interview, Anjelica Huston described this role as the most challenging one of her career.
    • Blooper
      Lily unscrews both light bulbs in the hallway outside Roy's apartment. In a following cut, Roy is seen entering his apartment from a well-lit hallway.
    • Citazioni

      Bobo Justus: [trying to get an explanation for Lilly's horse bet] You want to talk to me straight up?

      Lilly Dillon: My son.

      Bobo Justus: Your what?

      Lilly Dillon: My son was in the hospital.

      Bobo Justus: What the fuck are you doing with a son?

    • Connessioni
      Featured in Siskel & Ebert & the Movies: The Rookie/Berkeley in the Sixties/Edward Scissorhands/The Grifters (1990)
    • Colonne sonore
      Do Ya, Do Ya Love Me?
      Performed by Dream World

      Words & Music by Pete Theodore and Emilie A. Bernstein (as Emily Bernstein)

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    • Is Lilly Roy's biological mother?

    Dettagli

    Modifica
    • Data di uscita
      • 15 febbraio 1991 (Italia)
    • Paesi di origine
      • Stati Uniti
      • Canada
    • Sito ufficiale
      • Miramax (United States)
    • Lingua
      • Inglese
    • Celebre anche come
      • Los tramposos
    • Luoghi delle riprese
      • Bryson Hotel - 2701 Wilshire Boulevard, Downtown, Los Angeles, California, Stati Uniti(As Roy Dillon's hotel)
    • Azienda produttrice
      • Cineplex Odeon Films
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo Stati Uniti e Canada
      • 13.446.769 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 71.034 USD
      • 9 dic 1990
    • Lordo in tutto il mondo
      • 13.446.769 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 50 minuti
    • Colore
      • Color
    • Mix di suoni
      • Dolby Stereo
    • Proporzioni
      • 1.85 : 1

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