Crupiê: A Vida em Jogo

"Croupier" is a British neo-noir. It has a detached character (or even better, two characters) who progressively get involved in a shadowy world from an apparently safe beginning, it has voice-overs, lots of artistic and original swearing, a depressing atmosphere and if you don't feel like lighting a cigarette with a Zippo after the movie is over, you're dead. Clive Owen gives an amazing performance as the croupier of the title, who is very conscious of his split personalities: Jack, a gambler, the writer who works in the casino to pay the bills, and Jake, a croupier, a man who enjoys watching his customers losing all his money and who makes sure he's always dealing the cards. In the end, Jack loses and Jake wins. The message is delivered in the least subtle way possible, Hell, the voice-over is practically an intellectual analysis on the movie's meaning, but it works because Jack/Jake is an amazingly engaging character and because the movie is so well directed. The crime plot, although not surprising in the least, develops itself smoothly and contains lots of unexpected sources of humor. "Croupier" is a very stylish and criminally underrated neo-noir that beats the living crap out of most of recent Hollywood releases centering about a big robbery or con. It might be heavy-handed, but it's conscious of where its strenghts lie, and Wilson is great. Why it's so criminally underrated... I don't have the faintest about.

This film-noir crime drama gets my vote for sleeper of the year. It is an expertly written story that is subtly directed and superbly acted. It makes up for the dozens of dreadful independent films one has to mine to find such a gem.

Jack Manfred (Clive Owen) is a struggling writer, who on the advice of his father takes a job as a croupier at a local casino, a job he previously held when he lived in South Africa. He takes the job to make some extra money, but soon he realizes that it would be an excellent setting for a novel. He becomes an impassive observer of the gambling culture on both sides of the table, taking mental notes that are later incorporated into his book. However, as time goes on he is seduced from observer to participant, gradually breaking all his own rules and justifying his decadence by convincing himself that he has become the character in his book. His feeling of control is delusional as he is being manipulated by unseen forces that are beyond his comprehension.

There is a wonderful multi-layered texture to the story. It examines the psychological aspects of the gambling casino from the inside out, allowing us to look at the trade from the casino's perspective. It also weaves in love, sex, deceit and betrayal along with robbery and murder. A few plot gaps leave the viewer with some unanswered questions, but they are minor. The ingenious weave of plot elements culminating in a clever ending more than makes up for the flaws. Director Mike Hodges did an outstanding job of creating realistic casino environment without a lush budget. Hodges got the feeling just right as well, portraying various types of gamblers from the high rollers to the addicts.

The acting was superlative. Clive Owen emerges from the shadow of his television resume to deliver a complex and brilliant performance as the cunning but stolid croupier. If anyone with clout ever sees this film, his agent will certainly be getting some calls. Alex Kingston also does a fine job as the enigmatic Jani, who lures him into a nefarious scheme that sends his life spinning dangerously out of control.

This intelligent film keeps the viewer engrossed throughout. I rated it a 9/10. It presents a fine alternative to mindless big budget films that are more form than substance.

CROUPIER (2000) *** Clive Owen, Gina McKee, Alex Kingston, Kate Hardie, Nicholas Ball. British director Mike Hodges returns with his trademark hands-on film noir twisting with Owen – part Connery/part Gibson – as a contemptuous struggling novelist who takes a job as a casino croupier with much disdain for its clientele and the razor's edge trundling of enjoying the afterhours lifestyle while struggling to maintain his identity from his story's semi-autobiographical character. Smartly written by Paul Mayersberg with its pulp fiction heart and soul on display works well until its unfortunately false ending. Owen gives a silky smooth enhancing performance of a man at odds with his life and makes it all look effortless.

I was a croupier myself for the best part of 15 years and I expected to see the usual depiction of a casino. You know the scene - think of any Bond movie - the Roulette wheel spins so fast that you can't see the numbers, the dealers all have sticks and speak in French accents, the bets are all placed before the ball is spun and all straight up on the number.

Not so this movie. Anyone that has ever been inside a real casino would

recognise this place. The urgency of every punter trying to get the last bet on before the ball drops, the cheats, the sad, sad losers that wait forever to place their last chips.

This is the most realistic depiction of a casino I have ever seen.

Clive Owen is perfect. He has obviously had a lot of training - only one criticism of his technique - he looks in the wheel as the ball is dropping - a good dealer looks at the layout and watches for late bets, he should be the last person to know which number has come up - he must have eyes in the back of his head to

spot a cheat the way he deals!

For realism, you can't fault this film - every character, even the peripheral extras are real and believable - it's a tour de force of perfect character sketches - the plot is almost irrelevant - in fact, it is not quite up to the incredible atmosphere created - but it's good enough, the film is well worth your time. Hell, it's worth watching 2 or 3 times just to catch all of the great little cameos that you might have missed the first time

9 out of 10

Jack is an aspiring writer struggling to finish his debut novel. To make ends meet, he takes up employment as a croupier at a local casino- a job for which he has some ability. Jack is drawn into the action-packed world of gambling like a moth to flame, to the detriment of his relationship with his girlfriend Marion. As he becomes more involved with the casino and its inhabitants, Jack's life becomes increasingly complex and dangerous. Surrounded by cheats, card-sharps and cads, will Jack be able to beat the odds and finish his book, or will the house win again; leaving him with nothing?

Directed by Mike Hodges from a screenplay by Paul Meyersberg, 'Croupier' is a stylish crime drama that- at its best- effectively harkens back to the golden age of film noir. Meyersberg's narrative is full of deception and uncertainty, while his characters are cynical creatures motivated by greed and ambition. He uses Jack's tale to explore the seedy underbelly of contemporary London, where everyone is trying to con someone, and nobody wants to lose. Like Fred MacMurray's Walter Neff in 'Double Indemnity', Owen's Jack is our nihilistic gateway and guide to this sordid city of inequity, and like with Neff, we know his story probably won't have a happy ending.

This is not to say that Meyersberg's screenplay is without fault, or that his narrative is thoroughly engaging, however. The third act drags quite a bit and features a 'twist' so obvious and unnecessary that it cheapens all that came before it. Furthermore, his secondary characters aren't developed particularly well, seeming like dimly defined background noise. Jack's father, for instance, is more of a plot device than anything else, with little to no personality or depth. A sub-plot involving a fellow croupier named Matt initially seems important, before fading into absolute nothingness. It seems Meyersberg wasn't sure what direction to take some aspects of the story; so just left them mid-stream to flounder.

'Croupier' fares better in terms of visuals, having atmospheric production design and cinematography throughout. Director of photography Michael Garfath's utilization of close-ups, zooms and alternate angles in the gambling sequences heightens the narrative tension, while his spirited, inventive use of shadows, low-key lighting, and tilted angles helps maintain the film's thematic links to film noir. Coupled with Jon Bunker's lush production design- which makes terrific use of contrasting lighting, spaces and colours- 'Croupier' boasts consistently strong visuals that linger in the mind long after the credits have rolled.

As do the performances, especially that of star Clive Owen. Cold, calculating, but not without a certain charm, he masterfully underplays the role of Jack. With his detached voice-over-narration and laid-back demeanour, he plays Jack as the classic noir anti-hero and has the audience on side from the get-go. Gina McKee, Kate Hardie and Paul Reynolds also shine in their roles, giving commendable performances that elevate their characters beyond the screenplay and Meyersberg's scant secondary characterization.

With its nihilistic, cynical tone and assured, stylish cinematography, Mike Hodges's 'Croupier' is a tense crime drama that entertains and intrigues in equal measure. Though it may have a few issues- particularly regarding pacing and the structure of Paul Meyersberg's screenplay, which lags in the third act- this strongly acted, atmospheric film is a must watch for fans of film noir or Clive Owen. If 'Rounders', 'The Gambler' or 'Casino Royale' didn't satiate your lust for gambling movies, then go look for 'Croupier;' it's a bet that's sure to pay off.