Why not quit while you're ahead?
I grew up amongst gamblers, spending much of my time hustling bowling and gin rummy throughout the Midwest, until, at 17, I shuffled off to the Ivy-covered walls of a prestigious Eastern College.
This gives me much simpatico with Axel Freed, the central character and portrait of self-destruction, the gambler, and James Toback, the film's author. Toback's own reflections suggest that Axel is in many ways auto-biographical.
As a film, The Gambler is shortsighted, an ambitious but nonetheless failed attempt by a first-time screenwriter in difficult waters. It is not without its brilliance-its relentless dedication toward conveying that any gambler's true goal is not success, but utter humiliation-destruction of one's self, and anything and anyone around him. It can be no other way.
In the 1990's where independent film has achieved an emergence and respect in its own, a film like this might have found the strength among the very talented people involved, (Toback, James Caan, Karel Reisz) to emerge into a true gem. Alas this 70's neglected studio cast-off didn't have that opportunity.
London Lee is great in support, Paul Sorvino and Burt Young are well cast as Freed's mob-ties. Young's performance as a mob leg-breaker includes quite a raw, and shocking collection scene.
Probably a pass for any but the gambling addict, for them, a head (as in tape-head) burner. For those who are intrigued by Toback's intelligent approach to the seedier side, try his next effort, Fingers (1978), a diamond in the rough.
This gives me much simpatico with Axel Freed, the central character and portrait of self-destruction, the gambler, and James Toback, the film's author. Toback's own reflections suggest that Axel is in many ways auto-biographical.
As a film, The Gambler is shortsighted, an ambitious but nonetheless failed attempt by a first-time screenwriter in difficult waters. It is not without its brilliance-its relentless dedication toward conveying that any gambler's true goal is not success, but utter humiliation-destruction of one's self, and anything and anyone around him. It can be no other way.
In the 1990's where independent film has achieved an emergence and respect in its own, a film like this might have found the strength among the very talented people involved, (Toback, James Caan, Karel Reisz) to emerge into a true gem. Alas this 70's neglected studio cast-off didn't have that opportunity.
London Lee is great in support, Paul Sorvino and Burt Young are well cast as Freed's mob-ties. Young's performance as a mob leg-breaker includes quite a raw, and shocking collection scene.
Probably a pass for any but the gambling addict, for them, a head (as in tape-head) burner. For those who are intrigued by Toback's intelligent approach to the seedier side, try his next effort, Fingers (1978), a diamond in the rough.
- Doctor_Bombay
- Feb 10, 1999