2025 Blind Spot Series: The Sting

 

Directed by George Roy Hill and written by David S. Ward, The Sting is the story of two con artists who team up to get revenge in pulling off the ultimate con by stealing money from a rich mobster. Inspired by the real-life exploits of Fred and Charley Gondorff and a book about their exploits in The Big Con: The Story of the Confidence Man by David Maurer. The film is caper film set in the 1930s in which two different men team up to swindle money from a man who had wronged a mutual friend. Starring Robert Redford, Paul Newman, and Robert Shaw. The Sting is a witty and exhilarating film by George Roy Hill.

Set in 1936 Chicago during the final years of the Great Depression, the film is about a grifter who steals money from a courier with his partner only for his partner to be killed as the money belonged to a rich mobster forcing the grifter to team up with a veteran con artist in creating the ultimate con against this mobster. It is a film that is a bit of a revenge film but a caper film in which two men decide to go after a man who killed an acquaintance of theirs as well as using criminal activities to gain influence in corrupting those in politics and in the law enforcement. David S. Ward’s screenplay has a unique approach to structure as it plays into the journey that both the young grifter in Johnny Hooker (Robert Redford) and the veteran con man Henry Gondorff (Paul Newman) take in pulling the ultimate con on the Irish-American mob boss Doyle Lonnegan (Robert Shaw).

Ward’s script plays into Hooker’s motivations as he and his partner in Luther Coleman (Robert Earl Jones) had stolen money from a courier with help from their friend Joe Erie (Jack Kehoe) as it turned out the man was carrying $11,000 that was to be delivered to Lonnegan. Coleman planned to retire with his cut of the money only to be killed forcing Hooker to go to a friend of Coleman in Gondorff who is reluctant to go into the con game due to his own experiences and failures but becomes convinced as he assembles a team to go after Lonnegan. Ward also plays into Hooker being pursued by a corrupt detective in Lt. William Snyder (Charles Durning) as well as people working for Lonnegan even though Lonnegan does not know that Hooker is the one who stole from him. The script is also filled with twists and turns with several of Gondorff’s friends playing different roles in the con including Erie who joins in the con.

George Roy Hill’s direction is rapturous in terms of its overall presentation displaying a period during the waning years of the Great Depression. Shot on location at the Universal Studios backlot in Hollywood along with additional location shots in Wheeling, West Virgina, the Santa Monica pier carousel that stands as Gondorff’s home, and Chicago. Hill maintains a feel of the times in the usage of wide and medium shots to play into the energy as well as the sense of despair that was happening at the time. Even as Hill gives the film a look that does play into that period with its muted colors while he also uses wide and medium shots to get a scope of what it was like in Chicago as well as in the interiors such as a club that Gondorff and his team create to fool Lonnegan. Hill also maintains an intimacy in his close-ups as well as scenes where a poker game happens including a scene on a train where Gondorff acts as a boorish crime boss to play against Lonnegan while also aware that Lonnegan is a cheat. Hill’s direction highlights the detail into how Gondorff would beat Lonnegan in his own game with Hooker playing a role in this con.

Hill also plays into this sense of intrigue that occurs on whether everyone is playing each other in the con with Hooker wondering about its outcome as the FBI gets involved. The presence of the FBI does add more suspense and intrigue with Lonnegan also trying to figure out what to do and who to trust leading to this climax that is all about his own ego and thirst for power. The climax is also about Gondorff and Hooker both trying to understand what they want to do as individuals but also as partners where the stakes are big in terms of the money, they want to swindle from Lonnegan. Overall, Hill crafts a whimsical and riveting film about two men who decide to create the ultimate con against an Irish-American mobster who craves money and power.

Cinematographer Robert Surtees does brilliant work with the film’s cinematography with its muted colors for many of the daytime interior/exterior scenes as well as the usage of stylish lights for some of the scenes at night. Editor William Reynolds does excellent work with the editing for its usage of transition wipes, montages, and other stylish cuts to play into the humor and its offbeat energy. Art director Henry Bumstead, along with set decorators James W. Payne and Emile Kuri, does amazing work with the look of the sets from the building that Gondorff buys to create a fake gambling house as well as the places the characters go to. Costume designer Edith Head does fantastic work with the look of the suits the men wear in the film as well as the clothes the women wore as well as the design of the hats in those times.

The sound work of Ronald Pierce and Robert R. Bertrand is terrific for its approach to sound as it is presented on location as well as the way sound is presented from a radio during the horse races and in the effects used in some scenes in the film. The film’s music by Scott Joplin, which is adapted by Marvin Hamlisch, is incredible for its playful approach to ragtime piano music. Notably as Hamlisch brings in that sense of energy and melodic elements to the music, including his take on some standards of those times as it is a major highlight of the film.

The casting by William Batliner and Robert J. LaSanka is marvelous as it feature some notable small roles and appearances from Sally Kirkland as a showgirl that Hooker goes out with early in the film, Ken Samson as a Western Union executive, Paulene Myers as Luther’s wife Alva, Joe Tornatore as a mysterious gunman, Lee Paul as a bodyguard of Lonnegan, James J. Sloyan as Lonnegan’s right-hand man Mottola, Dimitra Arliss as a diner waitress Hooker befriends in Loretta, Jack Kehoe as Hooker’s friend Erie Kid who joins Hooker and Gondorff in the con, and Dana Elcar as a FBI agent pursuing Gondorff. Other notable small roles as members of Gondorff and Hooker’s team include John Heffernan as Eddie Niles who pretends to be a casino cashier, Harold Gould as the veteran conman Kid Twist who would fool Lonnegan as a financier working with Hooker, and Ray Walston as J.J. Singleton who would get the racing results and help make the announcements.

Robert Earl Jones is superb as Luther Coleman as Hooker’s partner/mentor who has decided to retire only to get himself in trouble with Lonnegan and his business. Eileen Brennan is excellent as Billie as a brothel madam whom Gondorff is in a relationship with as she helps Gondorff and Hooker in the con as she also finds way to be involved and outsmart Lonnegan. Charles Durning is brilliant as Lt. William Snyder as a corrupt detective who is pursuing Hooker over some counterfeit money unaware that Hooker stole from Lonnegan as he is also a bully to others as he shares Lonnegan’s views on maintaining power. Robert Shaw is phenomenal as Doyle Lonnegan as an Irish-American mob boss that is eager to become legitimate through his connections as he becomes upset that someone stole money from him as well as endure some humility that he is unable to deal with.

Finally, there is the duo of Paul Newman and Robert Redford in spectacular performances in their respective roles like Henry Gondorff and Johnny Hooker. Newman’s performance has this air of charm and humor as a man who has been through the con game for years yet is inspired to do this to humiliate Lonnegan who he sees as a threat where Newman also brings a lot of laughs during a poker game where he acts like a buffoon. Redford’s performance as Hooker is the more serious of the two as someone that wants to avenge Luther’s death as well as learning more about the con game where he also learns about the tricks of the trade. Newman and Redford together has this rapport where they know how to play off one another, where they know what the other person thinks as well as the sense of trust that they have in one another as they are major highlights of the film.

The Sting is an outstanding film by George Roy Hill that features the tremendous leading performances of Paul Newman and Robert Redford. Along with its ensemble supporting cast, lively visuals, David S. Ward’s inventive screenplay, and a fun music soundtrack by Marvin Hamlisch. It is a caper film that is full of energy, wit, and suspense while also being this study of two men trying to outwit a powerful criminal and show him some humility. In the end, The Sting is a magnificent film by George Roy Hill.

George Roy Hill Films: (A Night to Remember) – (Period of Adjustment) – (Toys in the Attic) – (The World of Henry Orient) – (Hawaii (1966 film)) – (Thoroughly Modern Millie) – Butch Cassidy & the Sundance Kid - (Slaughterhouse-Five) – (The Great Waldo Pepper) – (Slap Shot) – (A Little Romance) – (The World According to Garp) – (The Little Drummer Girl) – (Funny Farm)

© thevoid99 2025

2018 Blind Spot Series: Butch Cassidy and the Sundance Kid

Directed by George Roy Hill and written by William Goldman, Butch Cassidy and the Sundance Kid is the story of a pair of outlaws whose notoriety forces them to flee America to Bolivia in the hope of robbing more banks. The film is an unconventional western that play into two men trying to live a good life and make money through robbery as they also endure the changes of the West. Starring Paul Newman, Robert Redford, Katharine Ross, Strother Martin, Jeff Corey, and Henry Jones. Butch Cassidy and the Sundance Kid is an adventurous and thrilling film from George Roy Hill.

Set in the late 1890s before the turn of the century, the film revolves around a pair of outlaws whose work in robbing trains and banks suddenly takes a turn when they’re being pursued by a posse who wants them dead forcing the duo to go to Bolivia with one of their girlfriends in the hope of escape. It’s a film that play into a way of life and the emergence of change towards the end of the century forcing these two men to find another world that hasn’t caught up with these growing changes. William Goldman’s screenplay definitely play into this air of change though it begins with Butch Cassidy (Paul Newman) and the Sundance Kid (Robert Redford) at a small town where the former is looking at a bank while the latter is playing cards as people know about their infamy as robbers. Yet, the lack of serious work prompts many to question Cassidy’s leadership in the gang he runs as they would eventually find a train to rob. For all of its success, it would be fleeting as a second robbery would be the catalyst for not just trouble but also being pursued by a posse that is unlike anything else.

Butch and Sundance are just two men who know what to do as Butch is the man with ideas while Sundance is a man of action but they still bring out the best in each other as they also have an unlikely partnership with Sundance’s lover Etta Place (Katharine Ross) who knows about their exploits but often remains quiet until she chooses to join them on the journey to Bolivia. Much of the film’s first half is set in America while the second half is set in Bolivia where Goldman play into this idea of uncertainty but also culture shock. Still, it does give the duo an advantage in robbing banks with Etta’s help for some of the robberies where it does bring this sense of euphoria for all three but there’s also elements of paranoia as it relates to the posse that was pursuing them. The third act in Bolivia also play into Butch and Sundance’s attempt to go straight but the notoriety they had created in Bolivia has only created more trouble.

George Roy Hill’s direction is definitely engaging for the way he captures this air of change in the American West and the need for these two outlaws to go to Bolivia to maintain their idea of robbery in the old ways. Shot on various locations in Utah, New Mexico, Colorado, Arizona, and California for the scenes in America with the scenes in Bolivia shot in Mexico, the film does play into this world of the American West as a world that was wild and free but a growing sense of law and order is emerging but also the idea that big business can control things. The film’s opening sequence is shot in a sepia-like look reminiscent of early photographs as it play into their sense of adventure but also in being men that are becoming out of step with the times. Then the film goes into color as Hill would use wide shots of the locations along with unique compositions to play into the danger as it relates to the posse that is going after Butch and Sundance. Even as the shot would be shown from their perspective where they see the posse from afar who are a determined group that isn’t fooled by any tricks. The film would also have Hill use medium shots and close-ups as it relates to the conversations between Butch, Sundance, and Etta that add to the sense of character and their motivations for a good life.

The film would include a great sequence of old-school photograph stills montage to play into the journey that the three would embark from the West to South America as it has elements of humor but also this air of adventure until they arrive in Bolivia not realizing that it’s a totally different world with some different rules. Notably as Butch and Sundance know little Spanish forcing Etta to teach them certain phrases during the robberies. The film’s third act definitely marks a shift in tone where it is darker with the added element of violence along with revelations into Butch and Sundance’s own infamy in their robberies. It also include the fact that the Bolivians are a completely dangerous whenever they feel antagonized leading to this epic showdown that is thrilling but also with a lot at stake. Overall, Hill crafts an exhilarating film about two outlaws trying to maintain their way of life in the West and in Bolivia.

Cinematographer Conrad Hall does amazing work with the film’s cinematography from the usage of sepia-like colors for the film’s opening sequence to the dreamy look of some of the exterior scenes in the day and night in the deserts along with some low-key lights for some of the interiors at night. Editors John C. Howard and Richard C. Meyer do excellent work with the editing as its usage of dissolves, montages, and transitional wipes help play into the action and humor with some rhythmic cuts to play into bits of the suspense. Art directors Philip M. Jefferies and Jack Martin Smith, along with set decorators Chester Bayhi and Walter M. Scott, do fantastic work with the look of the farm that Etta lives at as well as the places in Bolivia and the train carts in America.

Costume designer Edith Head does excellent work with the costumes as it play into the turn of the century with some stylish dresses that Etta wears as well as the uniforms worn by the Bolivian police and its military. The sound work of David Dockendorf and Bill Edmondson is terrific for the way it captures gunfire and other sound effects as well as the intense atmosphere of the film’s climatic showdown between Butch and Sundance against the Bolivians. The film’s music by Burt Bacharach is incredible as its playful usage of orchestration add a lot to the film’s sense of adventure and humor that would also include the song Raindrops Keep Fallin’ on My Head written by Bacharach and Hal David that is sung by B.J. Thomas for a lively scene involving Butch and Etta with the new invention in a bicycle.

The film’s wonderful cast include some notable small roles from Cloris Leachman as a prostitute Butch occasionally sleeps with, Ted Cassidy as a gang member who challenges Butch’s leadership in Harvey Logan, Charles Dierkop as a gang member in Flat Nose Curry, Kenneth Mars as a marshal trying to get everyone to find Butch and Sundance, George Furth as a railroad bank worker named Woodcock whom Butch and Sundance run into, Henry Jones as a bicycle salesman, Jeff Corey as Sheriff Bledsoe who helps Butch and Sundance evade the posse, and Strother Martin as mining company boss in Percy Garris who runs a Bolivian mining company that tries to give Butch and Sundance a chance to live a straight life.

Katharine Ross is remarkable as Etta Place as a schoolteacher who runs her own farm as she is Sundance’s lover as someone who isn’t entirely fond of what Sundance does but does join him and Butch to Bolivia where she helps them rob banks until danger starts to emerge. Finally, there’s the duo of Paul Newman and Robert Redford in phenomenal performances in their respective roles as Butch Cassidy and the Sundance Kid where they both have this air of camaraderie in the way they deal with each other but also bring out the best with Newman being the man who is the thinker and trying to come up with ideas and Redford as the man of action who is also skeptical of Butch’s ideas but often follows along as Newman and Redford are a joy to watch as well as provide that air of true friendship that is often lost in films.

Butch Cassidy and the Sundance Kid is a magnificent film from George Roy Hill. Featuring top-notch performances from Paul Newman, Robert Redford, and Katharine Ross along with William Goldman’s inventive screenplay, Burt Bacharach’s whimsical score, gorgeous visuals, and the theme of changing times in the West. The film isn’t just a western that has a lot of thrills but also play into two men trying to hold on to their ideals and way of life before the arrival of the 20th Century. In the end, Butch Cassidy and the Sundance Kid is an outstanding film from George Roy Hill.

George Roy Hill Films: (Period of Adjustment) – (Toys in the Attic) – (The World of Henry Orient) – (Hawaii) – (Thoroughly Modern Millie) – (Slaughterhouse-Five) – The Sting – (The Great Waldo Pepper) – (Slap Shot) – (A Little Romance) – (The World According to Garp) – (The Little Drummer Girl) – (Funny Farm)

© thevoid99 2018

Buffalo Bill and the Indians, or Sitting Bull's History Lesson

Based on the play Indians by Arthur Kopit, Buffalo Bill and the Indians, or Sitting Bull’s History Lesson is the story of Buffalo Bill trying to stage a Wild West show where he gets the services of a deposed chief in hoping to present a show for the American president. Directed by Robert Altman and screenplay by Altman and Alan Rudolph, the film is an unconventional western that explores a man’s desire to uphold his own mythological persona while dealing with the realities around him including his own conflicts with Native Americans. Starring Paul Newman, Geraldine Chaplin, Joel Grey, Shelley Duvall, Harvey Keitel, Will Sampson, and Burt Lancaster. Buffalo Bill and the Indians, or Sitting Bull’s History Lesson is a whimsical yet engrossing film from Robert Altman.

Set in 1885 during the last years of a conflict involving Native Americans, the film revolves around a legend of the West who learns he’s gotten the services of the famed Chief Sitting Bull (Frank Kaquitts) for his show celebrating the West as it would prove to be more troubling as he would have to stage it in front of President Grover Cleveland (Pat McCormick). It’s a film that explores some of the behind-the-scenes moments of Buffalo Bill Cody (Paul Newman) trying to stage this show as he wants to present the ideas of the West as something wild and with its own sense of mythology. The film’s screenplay by Robert Altman and Alan Rudolph doesn’t just explore Cody trying to present his stage show as this façade of what the Wild West was but is forced to cope with the realities of what really happened. Especially when he meets Sitting Bull who he thought was this savage that enjoys killing people but it’s revealed to be this very calm, quiet, and morally pure which complicate everything that Cody wants to stage to the people.

The script also showcase Cody’s attempt to play up this persona he’s created as he becomes upset over not just Sitting Bull’s presence but also the fact that Sitting Bull doesn’t want to compromise very much as his interpreter Halsey (Will Sampson) has to speak up for him. Cody would also get into some tension with some of the players including Annie Oakley (Geraldine Chaplin) who is more sympathetic towards Sitting Bull. After a stage show with Sitting Bull where Cody expected him to be booed, it goes the other way around as it destroys everything Cody wanted to present in his idea of the American West. Adding to this turmoil is the fact that Cody isn’t just getting older but he’s having a hard time living up to the persona he’s created as his loyal nephew Ed Goodman (Harvey Keitel) is forced to realize this while his biographer Ned Buntline (Burt Lancaster) is trying to tell many about the many myths of Cody and romanticize to the people working at the show.

Altman’s direction is definitely stylish for not just creating a film that is quite chaotic and loose but also play up into this conflict of reality vs. myth with the West as its backdrop. Shot on location at the Stoney Indian Reservation in Alberta, Canada, the film does play into this idea of a man trying to recreate the Wild West in the middle of a forest near the Rocky Mountains as Altman would use some wide shots to establish the beauty of the location. Yet, he would go for more intimate shots in the usage of close-ups and medium shots as it play into the events happening behind the scenes as everyone is trying to stage the show. The presentation of the shows are quite lavish including the recreation of the Battle of Little Big Horn which shows Cody trying to show the battle from his view but the reality turns out to be more troubling.

The conflict of reality vs. myth is what is at stake in the film as Altman showcases these scenes where Cody is surrounded by things that aren’t real as he has opera singers as lovers, a biographer trying to embellish his legend, and people working with Cody trying to create the greatest show possible. Yet, there are things in the second half that showcase Cody’s struggle to create this myth in a moment where Sitting Bull and some of his people from his tribe have left as Cody and his men try to find them. What happens is that unveiling of the reality that Cody couldn’t face as he has to maintain his persona as this mythological figure of the West to President Grover. Though there are times the sense of looseness in the film does meander a bit for the film’s pacing, Altman does try to maintain a sense of liveliness to capture a moment in time with its protagonist being unaware of what is ahead. Overall, Altman creates a very intoxicating yet offbeat film about a legend of the Wild West trying to stage the ultimate show to present his vision of that world.

Cinematographer Paul Lohmann does brilliant work with the film’s cinematography in using some gorgeous natural lighting to capture the beauty of the locations in the day along with some lights for some of the scenes set at night. Editors Peter Appleton and Dennis M. Hill do terrific work with the editing as it’s mostly straightforward with a few jump-cuts to play into some of the humor and moments of the show. Production designer Anthony Masters, with set decorator Dennis J. Parrish and art director Jack Maxsted, does amazing work with the look of the sets for the stage show as well as the room where Cody sleeps in as well as the bar and a few other places at the circus area.

Costume designer Anthony Powell does excellent work with the costumes from the clothes that Cody wears as well as some of the actors to the simpler look of Sitting Bull and his tribe. Makeup artist Monty Westmore does nice work with the look of Cody as well as some of the makeup the characters wear during a performance. Sound editors Richard Oswald and William A. Sawyer do superb work with the sound as it play into the raucous sounds such as the overlapping dialogue and other things in and around the field for the stage show and circus. The film’s music by Richard Baskin is wonderful as it’s mainly an orchestral score filled with woodwinds and brass instruments that is often played on location to create this sense of pageantry into Cody’s own legend.

The film’s incredible ensemble cast include some Jerri and Joy Duce as cowboy trick riders, Bert Remsen as the bartender Crutch, Robert DoQui as an African-American actor who would often play the Indian chiefs in the stage performances, Bonnie Leaders and Evelyn Lear as a couple of opera singers who try to entertain Cody with the latter being the one who would sing in front of the president, Patrick Reynolds as the president’s aide, Patrick McCormick as President Grover Cleveland, and Shelley Duvall as the First Lady. Will Sampson is terrific as Sitting Bull’s right-hand man and interpreter Halsey as a man that is just trying to keep the peace and explain Sitting Bull’s view of things while Frank Kaquitts is superb as Sitting Bull as the revered Indian chief who rarely says anything as he maintains this presence of purity throughout the film.

John Considine is fantastic as Frank E. Butler as the husband of Annie Oakley who would often be the person holding her targets as well as deal with the chaos of the show. Kevin McCarthy is excellent as Major Burke as a military official who would be the one to get Sitting Bull to be involved as he’s this boisterous individual that likes to have fun and make sure everyone have fun. Joel Grey is brilliant as the producer Nate Salisbury as a man trying to keep everything in control while being announcer for the stage shows while Harvey Keitel is amazing as Cody’s nephew Ed Goodman as an assistant for Cody who is trying to keep him calm and deal with Halsey and Sitting Bull.

Burt Lancaster is marvelous as Ned Buntline as a journalist who is writing Cody’s biography as he tries to maintain that air of mystique for Cody though he is aware that the idea of myth won’t last. Geraldine Chaplin is remarkable as Annie Oakley as the famed sharpshooter who is seen with her right arm in a sling as she copes with not just her injury but the treatment of Sitting Bull as she becomes frustrated with Cody and his desire to present his idea of what the Wild West is. Finally, there’s Paul Newman in a phenomenal performance as Buffalo Bill Cody as a man that is trying to live up to the mythical persona he’s created as he copes with not just the reality of the West but also himself as it’s a performance with charm but also humility as it’s one of his finest performances of his career.

Buffalo Bill and the Indians, or Sitting Bull’s History Lesson is a vivacious film from Robert Altman that features an incredible leading performance from Paul Newman. Along with its great supporting cast, gorgeous visuals, and themes on mythology vs. reality, it’s a film that doesn’t play by the rules into the ideas of the Wild West though it does have a few flaws in its pacing. In the end, Buffalo Bill and the Indians, or Sitting Bull’s History Lesson is a sensational film from Robert Altman.

Robert Altman Films: (The Delinquents) – (The James Dean Story) – Countdown - (That Cold Day in the Park) – M.A.S.H. - Brewster McCloud – McCabe & Mrs. Miller - (Images) – Thieves Like Us - The Long Goodbye - California Split - Nashville - 3 Women - (A Wedding) – (Quintet) – (A Perfect Couple) – (HealtH) – Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) – (Streamers) – (Secret Honor) – (O.C. and Stiggs) – Fool for Love - (Beyond Therapy) – (Aria-Les Boreades) – (Tanner ’88) – (Vincent & Theo) – The Player - Short Cuts - Pret-a-Porter - (Kansas City) – (The Gingerbread Man) – Cookie's Fortune - Dr. T & the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) – A Prairie Home Companion

© thevoid99 2017

The Color of Money

Based on the novel by Walter Tevis, The Color of Money is the sequel to another Tevis novel in The Hustler in which “Fast” Eddie Felson has retired from the world of pool-hustling as he catches the eye of a young hustler in whom he wants to support only to be coaxed back into the game. Directed by Martin Scorsese and screenplay by Richard Price, the film plays into a man who tries to disconnect himself from the world that made him famous only to come back after seeing a young man with talent as Paul Newman reprises his role as “Fast” Eddie Felson. Also starring Tom Cruise, Mary Elizabeth Mastrantonio, Helen Shaver, John Turturro, Forest Whitaker, and Bill Cobbs. The Color of Money is a compelling and rapturous film from Martin Scorsese.

Set more than twenty years after “Fast” Eddie Felson had become the greatest pool hustler in the streets, the film revolves around a retired Felson who has now become a successful liquor salesman while making money on other hustlers. Yet, he catches the eye of a young hustler whom he sees as someone with the potential to be great as he takes the young man and his girlfriend on the road to teach him the trade of hustling. Along the way, Felson teaches Vincent Lauria (Tom Cruise) about how to make money and how to lose below his abilities in order to win big. By traveling to famous pool halls around the country before taking part of a big 9-ball tournament in Atlantic City, Felson finds himself getting the urge to return but has to contend with aging as well as the fact that there are those who are younger and know the trade of hustling just as good as he did.

Richard Price’s screenplay explores the world of hustling as Felson is someone who is a master at it but hasn’t played in more than 20 years while his eyesight has sort of deteriorated. Though he tries to live a normal life while watching pool hustling from afar, he finds something in Vincent that makes him want to come back. While Vincent is talented, he is immature as Felson would take him under his wing along with Vincent’s girlfriend Carmen (Mary Elizabeth Mastrantonio) who has managed Vincent’s dealings as she would pay close attention to Felson’s methods. Even as she would help Felson in playing the role of hustler as it would cause some issues with the very immature Vincent who realizes that part of the art of hustling is to act the part of being someone who isn’t good and then hustle that player. Through Vincent, Felson would live through him but would eventually become selfish once Vincent improves as its third act would have both men attend the tournament against each other.

Martin Scorsese’s direction is very stylish not just in his presentation of the world of 9-ball pool and hustling but also in a world where it’s about survival and making money anyway a person can. Shot largely in parts of Chicago as well as bits of Atlantic City, the film plays like a world that is changing where the valor and classiness of the pool halls is now nothing more than an urban decay of sorts. While Scorsese does bring in some stylish usage of close-ups and medium shots along with some simpler moments, it is all about the sense of atmosphere in these pool halls as well as the need to play and hustle someone. Scorsese’s approach to the games are presented with a sense of rhythm as well as a bit of psychology into what will take for that person to win and win big but also how to lose and then make that person feel like shit.

Scorsese would also go into extreme close-ups to showcase a pool ball being hit by a pool cue as well as other elements that definitely play into a sense of style. Notably in his approach to tracking shots where he would go from a medium to wide or vice-versa as it plays into Felson’s love-hate relationship with hustling. There’s also some unique crane shots that Scorsese would use as it would be prominent in the film’s third act in the 9-ball tournament in Atlantic City. Many of the images that Scorsese would create are very unconventional as it strays from what is expected in films like this but it also plays into how intense these games are where it is about strategy and see how one can lose. Overall, Scorsese creates a very engaging and riveting film about a former pool hustler teaching a young hustler the trick of the trade.

Cinematographer Michael Ballhaus does excellent work with the film‘s cinematography from its usage of natural lights for some of the exteriors and daytime interiors to the lighting in some of the pool halls as well as the lightings for the tournament. Editor Thelma Schoonmaker does incredible work with the editing with her stylish approach to montages, jump-cuts, and dissolves to play into the world of pool and hustling. Production designer Boris Leven and set decorator Karen O’Hara do fantastic work with the design of the pool halls from the richness of the one in Atlantic City to the more decayed, street look of the ones Vincent and Felson go to.

Costume designer Richard Bruno does nice work with the costumes to play into the youthful look of Vince as well as the suits that Felson wears to represent his sense of the old school. Sound editor Skip Lievsay does superb work with the sound as it plays into the atmosphere of the bars and pool halls the characters go to as it has a sense of atmosphere that is very street and has its own sense of rules. The film’s music by Robbie Robertson is great as it is largely blues-based music to play into the world of the pool halls while compiling a soundtrack that features music from Phil Collins, Warren Zevon, Robert Palmer, Mark Knopfler, B.B. King, Willie Dixon, Don Henley, and Eric Clapton.

The casting by Gretchen Rennell is brilliant as it features some notable appearances and small roles from punk rock legend Iggy Pop as an opponent Vince hustles on the road, professional pool players Grady Mathews, Steve Mizerak, Keith McCready, and Jimmy Mataya as themselves, and Bill Cobbs as an old friend of Felson who runs a pool hall. John Turturro is terrific as a friend of Felson who gets beaten by Vince as he thinks he can take him. Forest Whitaker as a young hustler Felson faces off with where the result would have serious consequences for Felson. Helen Shaver is wonderful as Felson’s girlfriend Janelle who tries to keep Felson grounded while being aware of his past as a hustler as she wonders if he’ll lose it all over again.

Mary Elizabeth Mastrantonio is amazing as Carmen as Vince’s girlfriend who joins Vince and Felson on the road while learning about Felson’s methods very closely as she realizes there is more than what is going on as she tries to make sure that Vince is well-paid and succeeds. Tom Cruise is excellent as Vincent Lauria as a young pool hustler who is great at pool but lacks the knowledge to make serious money as he copes with his immaturity and what Felson wants from him. Finally, there’s Paul Newman in a remarkable performance as “Fast” Eddie Felson as a former pool hustler who is fascinated by the young Vince as he wants to mentor him only to find himself back in the world that he’s been detached from for so many years as it’s a performance full of energy but also one of humility as Newman brings a lot of gravitas to the role as it’s one of his best performances.

The Color of Money is a phenomenal film from Martin Scorsese that features a great performance from Paul Newman as “Fast” Eddie Nelson. Along with amazing performances from Tom Cruise and Mary Elizabeth Mastrantonio and a killer soundtrack. The film isn’t just one of Scorsese’s most entertaining films but also a key study into the world of hustling and an old veteran trying to teach a young hustler the trades of making big money in a cruel world. In the end, The Color of Money is a sensational film from Martin Scorsese.

Related: The Hustler

Martin Scorsese Films: (Who’s That Knocking on My Door?) - (Street Scenes) - Boxcar Bertha - (Mean Streets) - Italianamerican - Alice Doesn't Live Here Anymore - Taxi Driver - New York, New York - American Boy: A Profile of Steven Prince - (The Last Waltz) - Raging Bull - The King of Comedy - After Hours - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas - Cape Fear (1991 film) - The Age of Innocence - (A Personal Journey with Martin Scorsese Through American Movies) - (Casino) - (Kundun) - (My Voyage to Italy) - Bringing Out the Dead - (The Blues-Feel Like Going Home) - Gangs of New York - (The Aviator) - No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) - (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The 50 Year Argument) - Silence (2016 film) - (The Irishman) - Killers of the Flower Moon - (An Afternoon with SCTV)

© thevoid99 2015

The Hustler

Based on the novel by Walter Tevis, The Hustler is the story about a small-time pool hustler who wants to prove himself to be the best pool player in the U.S. as he goes after a legendary pool player. Directed by Robert Rossen and screenplay by Rossen and Sidney Carroll, the film explores a man’s desire to be the best at any cost as he would hustle his way into being the best as the character of “Fast Eddie” Felson is played by Paul Newman. Also starring Piper Laurie, George C. Scott, and Jackie Gleason as Minnesota Fats. The Hustler is a chilling yet captivating film from Robert Rossen.

The film is an exploration into the world of pool-hustling as a young hustler named “Fast Eddie” Felson wants to become the best and dethrone the king of pool hustling in Minnesota Fats. The two would play a 25-hour marathon where Felson had Fats beaten but ends up losing more than just money as he drowns his sorrows with an alcoholic writer whom he would move in with. Just as opportunity comes in to get himself back up, more setbacks would emerge as it would drive Felson to be more determined to be the best and beat Fats once and for all but with a heavy price. It’s a film that plays into a man who arrives rich and eager to be the best but for all of his talent, he lacks character and to know when to quit.

The film’s screenplay by Robert Rossen and Sidney Carroll create a script that takes great use with its structure as the first act is about the Felson and Fats’ game while the second act is about Felson dealing with his loss and trying to get himself back up. The third act is about him taking an opportunity that would later cost him more than money as it would involve him working with a seedy gambler in Bert Gordon (George C. Scott). Yet, the one person that Felson would bring into his life is Sarah Packard (Piper Laurie) as she is this writer trying to make it as she is in need of help as does Eddie where the two are drawn together by their troubles. When Felson takes her for the ride to see if he can score some money, things become troubling where the film’s dialogue definitely becomes very powerful into the troubles that Felson would deal with.

Rossen’s direction is quite engaging for the way he explores the world of pool-hustling as it’s a world where hustling is the key to survival. Much of the direction is quite intimate in the way Rossen presents the scenes of men playing pool where it’s a game of wit and skill. The camera is always gazing down at the pool table where it’s a world that is very unique where smoke is also a key proponent to the atmosphere of the pool hall. In the non-pool scenes, Rossen does maintain that intimacy in the relationship between Eddie and Sarah where some of the compositions in the way Rossen places the actors in a frame is very unique. Even as the characters in the background add some importance as it plays to the drama of the film where the film’s third act would become more dramatic as it plays to the way Felson leads his life and what is important to him. Overall, Rossen crafts a very mesmerizing and intelligent film about the world of pool-hustling.

Cinematographer Eugene Schufftan does fantastic work with the film‘s black-and-white photography from the way smoke is captured in the pool halls to the shadows and shading for some of its interior and exterior scenes. Editor Dede Allen does brilliant work with the editing with its stylish use of dissolves for the pool montages as well as some very seamless cutting techniques to play into the drama of the film. Production designer Harry Horner and set decorator Gene Callahan do excellent work with the look of the pool halls as well as the hotel suite Eddie and Sarah stay at with Bert in the film’s third act.

Costume designer Ruth Morley does nice work with the costumes from the suit that Fats wears to the clothes that Sarah wears. Sound editors Edward Beyer and Jack Fitzstephens do superb work with the sound to play into the atmosphere of the pool hall as well as the party that Eddie, Sarah, and Bert go to. The film’s music by Kenyon Hopkins is just great for its jazz-based score to play into the atmosphere of the pool hall while it also includes some somber moments for the film’s melodramatic scenes.

The film’s cast includes a cameo appearance from Jake LaMotta as a bartender as well as notable small roles from Murray Hamilton as the rich hustler Findley and Myron McCormick as Eddie’s partner Charlie. George C. Scott is excellent as the very smarmy yet smart gambler Bert Gordon as man who tells Eddie that he’s a born loser as he’s willing to make money off of him any way he cans. Jackie Gleason is great as Minnesota Fats as a very skilled pool player who knows how to endure marathons as he welcomes Eddie’s challenge as Gleason has this very low-key subtlety to his performance that makes him so complex.

Piper Laurie is amazing as Sarah Packard as this alcoholic writer who falls for Eddie as she deals with his willingness to hustle as she wonders if she’s being hustled. Finally, there’s Paul Newman in a tremendous performance as “Fast Eddie” Felson as this very skilled hustler who has the tools to be a great player but his arrogance would become his downfall as it’s a performance that has Newman display a lot of emotional weight and complexity to his character as it’s one of his best.

The Hustler is a remarkable film from Robert Rossen that features an iconic performance from Paul Newman. Along with a strong supporting cast, a cool music score, and some amazing technical work, it’s a film that isn’t just a compelling piece into the world of pool-hustling but also in how people risk their lives in the game of life. In the end, The Hustler is an incredible film from Robert Rossen.

Related: The Color of Money

© thevoid99 2014

Cool Hand Luke

Originally Written and Posted at Epinions.com on 11/6/08 w/ Additional Edits.

Based on the novel by Donn Pearce, Cool Hand Luke tells the story of a prisoner who defies authority in a harsh Florida prison. Directed by Stuart Rosenberg with a script written by Pearce and Frank Pierson, the film features Paul Newman in the title role as Luke Jackson. A man who just won't conform to whatever the system tells him to do as he proves to be an inspiration to the fellow prisoners around him. Also starring George Kennedy, Strother Martin, J.D. Cannon, Luke Askew, Dennis Hopper, Clifton James, Harry Dean Stanton, Joe Don Baker, and Morgan Woodward. Cool Hand Luke is a tremendous film from Stuart Rosenberg.

After doing some drinking and destroying some parking meters, Lucas Jackson is sent to a prison in Florida. Under the supervision of its captain (Strother Martin), Jackson along with three other new convicts including Tramp (Harry Dean Stanton) are given rules to live in the prison. Joining several other men including Dragline (George Kennedy), the men plow the fields, create ditches, and pave roadways. Yet, Lucas has managed to prove to be a guy not willing to give in to the system. After a fight with Dragline where he refused to stay down, he gains the respect of his fellow inmates as well as a few men running the prison. After meeting his mother (Jo Van Fleet) when she visits, he's given a banjo as he continues to be an inspiration.

Dragline befriends the young new convict whom he named Cool Hand Luke as Luke proves to be a real tough guy by eating 50 eggs in an hour. After causing some intimidation in the sunglasses-wearing Boss Godfrey (Morgan Woodward), Luke proves to be powerful until he receives news over the death of his mother. Yet, Luke decides to try and break out of prison with the help of a few prisoners. After two attempts where he nearly succeeded, notably the second one. He is sent back as the captain tries to break his spirit. With the prison bosses making him dig a big ditch and prisoners looking on. The captain wonders if he has broken Luke's spirit but Luke has other ideas with Dragline in tow.

The film can be described as inspirational due to the idea that Luke is described as a Christ-like figure. A man who brings so much inspiration and hope to his fellow prisoners while proving that he can't give in to authority. Attempts to break the spirit of someone like Luke is hard, even when his mother dies and the time he gets captured again and abused. Even at the lowest point, it seems like Luke is willing to give up but this a man that can't really be broken. Even to someone as tough and hardened like Dragline who becomes his confidant and at times, a father figure. Dragline teaches Luke about surviving the prison and its confines while gaining hope in that he too, can escape and yearn for freedom. The script by its novelist Donn Pearce and co-writer Frank Pierson is filled with moments of humor as well as drama and action as it keeps on getting interesting right to the end.

Stuart Rosenberg's direction is truly superb in its compositions and presentation of key scenes. From the way the film opened to its last sequence, it's done with great style that is reminiscent of what American films were doing at that time against the traditional style of the past. There's scenes where Rosenberg captures a great moment of action with his fluid camera and scenery while one sequence in which Luke is beaten, reveals the perspective of all of the prisoners in a rich composition. Yet, Rosenberg's approach to the drama is all in a theatrical style with intimate settings to reveal the kind of tension and comradery between the prisoners and a few of its guards. The film's thematic tone about authority and conformity reveal something power around the time of the mid & late 1960s. The result is a powerful film about individuality and the refusal to conform from the mind of Stuart Rosenberg.

Cinematographer Conrad Hall bring exquisite camera work to many of the film's exterior sequences, notably the skylines and shots of the roads filled with great blue skies and beautiful shots of the river. Hall's interior work, notably the prison house is filled with wonderful lighting setups to create a unique sense of intimacy and atmosphere for those scenes. Even the exterior nighttime scenes are done with wonderful shades and tone to bring for those scenes. Hall's work is truly brilliant in exemplifying in why he's one of American cinema's most renowned cinematographers. Editor Sam O'Steen does great work in creating a fluid style of editing that's traditional but with jump-cuts and rhythmic cutting to emphasize a new style of editing that was cutting edge at the time. Yet, the editing works to capture the moment of action and drama with such precision and in the creation of smooth transitions from scene to scene.

Art director Cary Odell and set decorator Fred Price do excellent work in the look of the rural prison and the house for its convicts as it's given a real, Southern look and style for its intimate setting. Costume designer Howard Shoup also does excellent work in the look of the convicts uniform along with the prison guard suits to show the contrast between authority and those forced to give in. Sound recordist Larry Jost does excellent work in the sound of rain, chains, rakes, and other things to create something intimate and real. Music composer Lalo Schifrin creates a unique film score that is a mix of traditional, orchestral pieces for some of the film's dramatic moments and a Southern, string-inspired piece with guitars and banjos for some of the film's comical and light-hearted moments. Even music from Harry Dean Stanton who sings in a few tracks is filled with Southern values that plays true to the tone of the film.

The cast is truly superb with early appearances from actors like Harry Dean Stanton, Dennis Hopper, Anthony Zerbe, and James Gammon as fellow convicts where they each have memorable moments. Other memorable character actors like Clifton James and Joe Don Baker are great as the two men who run the prison house with Lou Antonio in a memorable role as the convict Koko. Joy Harmon has a memorable appearance as the girl washing her car bringing a lot of excitement to the convicts while Jo Van Fleet is great as Luke's mother who knew that he was trouble but always brought some excitement into her life. Luke Askew is excellent as one of the prison bosses while Morgan Woodward has a more memorable appearance as Boss Godfrey, a man who doesn't talk and wears sunglasses but is a good shooter. Strother Martin is brilliant as the Captain, the prison's warden who has a great complexity in being someone who might be helpful or he can be a mean son-of-a-bitch. It's a brilliant performance with a great Southern drawl that proves he can be intimidating while carrying a unique charm.

George Kennedy, in his Oscar-winning performance as Dragline is brilliant as the prison's convict leader who provides wisdom in showing how to live in the prison while being impressed by Luke's spirit. Kennedy's performance filled with humor and a father-like persona is truly amazing as it's a very memorable performance as a man who finds a new lease on life while trying to keep everything cool that goes with the prisoners. Finally, there's Paul Newman in an iconic role as the title character of Cool Hand Luke. An anti-hero who isn't a real hero but one that won't back down from authority or anything is a guy that is inspirational and can bring a unique spirit. Newman also proves that for a guy that's very beautiful, he can also be tough as hell where he won't be backed down. Filled with a lot of charisma, vulnerability, and tenacity as he's just a guy trying to figure out his role in the world and why he's being pushed down. It's a phenomenal performance from the legendary actor.

Cool Hand Luke is a magnificent film from Stuart Rosenberg that features powerful performances from Paul Newman and George Kennedy. This film isn't just one of the finest films in American cinema ever made but also a film that dares to question the idea of authority. Especially in a character like Luke that can only be played with such power by Newman. In the end, Cool Hand Luke is an outstanding film from Stuart Rosenberg.

© thevoid99 2014

The Hudsucker Proxy

Directed by Joel & Ethan Coen and written by the Coen Brothers and Sam Raimi, The Hudsucker Proxy is the story of a business graduate who starts out as a mailroom clerk and then creates an idea that makes him the president of the company. Meanwhile, a company director decides to create a scam where the young president will take the fall. The film explores the world of ambition as it combines many of the Coen Brothers unique humor and quirks. Starring Tim Robbins, Jennifer Jason Leigh, Paul Newman, Bill Cobbs, Bruce Campbell, John Mahoney, and Charles Durning along with appearances from Coen Brothers regulars John Goodman, Steve Buscemi, and Jon Polito. The Hudsucker Proxy is a sprawling yet witty film from the Coen Brothers.

It’s 1958 as Norville Barnes (Tim Robbins) arrives to New York from Indiana looking for a top job with his business degree. The only problem is that the jobs need experience as he ends up working on the mailroom as a clerk for Hudsucker Industries. On the day he arrives into the building, the company’s founder Waring Hudsucker (Charles Durning) jumps out of a building where the board wonders what to do as directing manager Sidney J. Mussburger (Paul Newman) devises a scheme to implant a moron as company president for the stock to go down so he can buy its controlling interest. When Norville is asked to deliver the infamous blue letter to Mussburger, things go bad as Mussburger uses Norville to become president as stocks start to go down.

With news over Norville’s new role as president of Hudsucker Industries, Pulitzer Prize-winning reporter Amy Archer (Jennifer Jason Leigh) of the Manhattan Argus is assigned to write about Norville as she pretends to be his secretary to find out more about him. During her work posing as Norville’s secretary, she discovers about Mussburger’s plot from the scoop of the building’s clock operator Moses (Bill Cobbs). After a disastrous party with investors, Norville unveils his new idea in the hula-hoop as Mussburger believes it will be the product that will put Hudsucker stock further down. Instead, Mussburger’s scheme backfires when the hula-hoop becomes a smash hit with Norville being the toast of the town much to Mussburger’s dismay.

Norville’s sudden arrogance leads to Amy’s resignation as secretary as he struggles to find new ideas where the building’s elevator operator Buzz (Jim True-Frost) is fired for creating the flexi-straw as Norville claims it’s a stupid idea. Meanwhile, Mussburger makes a discovery through his henchman Aloysius (Harry Bugin) as he uses the secret to overthrow Norville who is condemned as a fraud until he discovers a much bigger secret.

The film is about a naïve business graduate who unknowingly becomes part of a directing manager’s scheme for a business to fail only to backfire when an idea becomes hugely successful. It’s a film that explores the world of corporations and schemes where a board director tries to take control of a company’s stock as he implants this very nice but dim-witted man to become company president so everything would fail. Yet, there’s strange forces such as a fast-talking news reporter and a clock operator who would play with the fates of this young man as the former eventually falls for him.

The script by the Coen Brothers and Sam Raimi does have a bit of formulaic air to the story such as Norville Barnes’ evolution from naïve mail clerk to a smug president who starts to act like the man who is trying to make him look like a fool. Yet, it does manage to work in the way that Norville is portrayed as a guy who just wants to help a company after the death of its founder as he would create an idea that would eventually help the company out much to the dismay of the board and its antagonist Sidney J. Mussburger. Mussburger isn’t a typical villain due to the fact that he’s very smart while slyly plays mentor to the well-meaning Norville and build him up only to tear him down.

Then there’s Amy Archer who starts out as a spy trying to figure out if Norville is the imbecile that people claim to be but she realizes he’s just a pawn for something bigger as she tries to help him become the president the company needed. Though the part about her falling for him is sort of clichéd, it’s what the Coens and Raimi go for since it’s a film that is a tribute to these slapstick comedies as Archer is a character who is quite complex as she sort of acts like a tough broad in the newsroom only to realize that she acts too masculine to fit in with the boys. Despite a few issues with the story, the Coen Brothers and Sam Raimi do create a very entertaining and clever script.

The direction of the Coen Brothers is definitely stylish from the way the board room meetings are shot to the way the mailroom is presented with tracking camera shots to exemplify its chaotic atmosphere. Style is definitely prevalent in the way the Coen Brothers chose to present the film as it features fake newsreel clips along with headlines and all sorts of things to play up Norville’s rise. With Sam Raimi providing some second unit direction for some exterior shots as the film includes a lot of set pieces and an opening crane shot that features New York City presented as miniature sets. The overall work that the Coen Brothers create is truly fascinating as they create a truly superb and engaging film.

Cinematographer Roger Deakins does a brilliant job with the film‘s photography from the way the offices are lit for day and nighttime exteriors to set the mood to the more lavish array of lighting for the snowy climatic scenes in the city. Editor Thom Noble does a nice job with the editing to play up the sense of style while creating dazzling montages of Norville’s rise to success. Production designer Dennis Gassner, with set decorator Nancy Haigh and art director Leslie McDonald, does a fantastic job with the set pieces created such as the offices of Norville and Mussburger to the room in between where the building’s clock is being operated.

Costume designer Richard Hornung does fabulous work with the costumes from the suits that the men wear to the stylish dresses that Amy wears to play up her tough personality. Visual effects supervisor Michael J. McAllister and miniatures supervisor Mark Stetson do amazing work with the visual effects creating including the film‘s opening shot and the scene involving Waring Hudsucker‘s suicide fall. Sound editor Skip Lievsay does terrific work with the sound from the way the clocks sound inside to the chaos of the party, mailroom, and newsroom scenes.

The film’s score by Carter Burwell is excellent for its playful pieces for the film’s humor to more soaring orchestral arrangements that play up Norville’s triumphs and other suspenseful, dramatic moments in the film. The film’s soundtrack also includes an array of standards from Duke Ellington and Grace Bumby to classical music from Georges Bizet, Frederic Chopin, Luigi Boccherini, Peter Tchaikovsky, and Aram Khachaturian.

The casting by Donna Isaacson and John S. Lyons is great for the ensemble that is created as it includes cameos from Coen Brothers regulars like Steve Buscemi as a beatnik bartender, Jon Polito as a businessman-in-waiting, and John Goodman as the voice of a newsreel man. Other notable appearances include Peter Gallagher as a lounge singer, Mike Starr as a news reporter, Patrick Cranshaw as an aging mail sorter, Bruce Campbell as a news reporter Amy likes to slap around, and notorious Playboy Playmate Anna Nicole Smith as a bombshell Norville was linked to. Standout small but noteworthy supporting parts include John Mahoney’s as Amy’s news-grabbing editor, Harry Bugin as Mussburger’s silent henchman Aloysius, Bill Cobbs as the wise and informative clock operator Moses, Jim True-Frost as the fast-talking elevator operator Buzz, and Charles Durning in a small but very memorable part as Warring Hudsucker.

Jennifer Jason Leigh is great as the fast-talking and snooping reporter Amy Archer who sports a very exaggerated accent as Leigh brings great humor and charisma as the woman who unlikely falls for Norville. Paul Newman is outstanding as the smarmy Sidney J. Mussburger who tries to scheme his way into taking over Hudsucker Industries as he brings a wonderful sense of charm and bravado to the character. Finally, there’s Tim Robbins in a wonderful performance as Norville Barnes as he brings a boyish persona to a guy that hopes to do great only to be a pawn in a scheme as Robbins exudes some humor and humility into the role.

The Hudsucker Proxy is an extraordinary film from Joel and Ethan Coen. Featuring marvelous performances from Tim Robbins, Jennifer Jason Leigh, and Paul Newman, it’s a film that is very entertaining despite the fact that there’s more style than substance. Still, it is a joy to watch and never has a dull moment while not pretending to be this very extravagant period piece. In the end, The Hudsucker Proxy is an enjoyable film from the Coen Brothers.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller's Crossing - Barton Fink - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn’t There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

© thevoid99 2012

Cars

Originally Written and Posted at Epinions.com on 6/19/08 w/ Additional Edits.

Ever since the release of 1995's landmark film Toy Story, the 3-D computer-animated film changed the cinema forever with its unique look as animation was reinvented. The film coming from a fledgling studio called Pixar backed by Disney would become the predominant 3-D computer animation studio that would put out quality films that each had a unique look and feel. Since the release of Toy Story, Pixar studios and its film directors John Lasseter, Andrew Stanton, Pete Docter, and Brad Bird had created unique films that were often critically acclaimed and huge box office hits. In 2006, Pixar co-founder John Lasseter returned to the director's chair after co-directing 1999's Toy Story 2 for an entertaining, thrilling story about a race car and his exploration of life in the film simply entitled Cars.

Directed by John Lasseter along with co-director Joe Ranft based on their story co-written with Jorgen Klubien and Brenda Chapman. Cars tells the story of a rookie race car named Lightning McQueen who suddenly gets lost in a small, quaint little town called Radiator Springs on U.S. Route 66. After an accidental act of vandalism, McQueen is ordered to fix the town's road as he meets the town's eccentric characters while learning about life and racing. With an all-star cast that included Owen Wilson, Paul Newman, Larry the Cable Guy, Bonnie Hunt, Cheech Marin, Jenifer Lewis, Paul Dooley, George Carlin, Tony Shalhoub, Michael Keaton, Michael Wallis, Katherine Helmond, racing legend Richard Petty, and Pixar regular John Ratzenberg. Cars is an excellent, exciting, and entertaining film from John Lasseter and company.

It's the Dinoco 400 as a bunch of cars race for the coveted Piston Cup. Yet, the top three racers are longtime champion the King (Richard Petty), veteran contender Chick Hicks (Michael Keaton) and new rookie sensation Lightning McQueen (Owen Wilson). Yet, despite McQueen's talents and charisma, the rookie is cocky and arrogant often working alone with a frustrated pit crew. Despite being in a three-way tie, McQueen dreams of winning King's old Dinoco sponsorship that would put him at the top even though he got a break from the Rusteze bumper ointment company. Hoping to make it to California before Hicks does to get the Dinoco deal with big truck Mack (John Ratzenberger), something happens as a tired Mack loses McQueen during the trip to California.

Lost, McQueen finds himself on the famed Route 66 where he enters the quaint town of Radiator Springs and causes trouble by accidentally ruining the town's road. After the old sheriff (Michael Wallis) arrests him, McQueen meets the town's judge Doc Hudson (Paul Newman) who orders him to fix the road for community service. Even as it was the town's local motel owner/Porsche Miss Sally (Bonnie Hunt) makes the suggestion in hopes to raise the town's spirit. Having to drag the road-paving machine Bessie, McQueen meets many of the town's locals including the tow-truck Mater (Larry the Cable Guy), the tire owner Luigi (Tony Shalhoub) and his assistant Guido (Guido Quaroni), the gas station owner Flo (Jenifer Lewis) and her paint-job artist Ramone (Cheech Marin), the hippie Volkswagen bus Filmore (George Carlin), the army surplus jeep Sarge (Paul Dooley), the elder bumper sticker patron Lizzie (Katherine Helmond), and the shy fire truck Red (Joe Ranft).

While McQueen has to contend with the town and its ways, he starts to find to find himself part of the town as he makes friends and learns about Doc Hudson's past as the racing legend Hudson Hornet. After being found by the media, McQueen reluctantly returns to his lavish lifestyle as he finds himself missing the town he's grown to love. With the race for the Piston Cup happening and McQueen uninspired, he gets some unexpected help to race for the championship.

While the film has the sheer look and spirit of all the Pixar films John Lasseter and his team had created. Cars stands out for its sense of entertainment, an exploration into the world of NASCAR as well as its look into the wonders of America on the road. Yet, what the film lacks is a strong story since in comparison to the films Pixar had created before and since. It's approach is also more commercial than the rest of its films since it's more geared for entertainment than taking any kind of artistic risks. Not that there's anything wrong with that. Despite a huge team of writers and contributors that included Bonnie Hunt, John Lasseter does do a fantastic job in creating a look and style to the film that is true to the spirit of road films, NASCAR, and the wonders of America. Yet, Lasseter is still a storyteller at heart as he provides memorable characters and development that allows the story to be memorable and filled with heart as well as some strong themes.

Cinematographer Jeremy Lasky along with production designers William Cone and Bob Pauley do a superb job in the film's look and lighting as well as capturing the look of the home town and the various locations they recreate for Radiator Springs and Route 66. Editor Ken Schretzmann does an excellent job with the film's cutting in the use of dissolves and transitions to tell the story without delving into hyper-fast cutting styles for the film's racing scenes. Sound editor Michael Silvers and sound designer Tom Myers do a fantastic job with the film's sound work in capturing the sound of tires squeals and engines running for the film's race scenes as well as various work where the sound work is one of the film's highlights. Animation directors James Ford Murphy and Bobby Podesta do an amazing work in the look for each character to give them personality with model cars they play as it works to give the entire film a unique look.

Longtime Pixar contributor Randy Newman does a wonderful job with the film's score that is a mix of ragtime and country music to capture the spirit of Middle America and the world of NASCAR. The soundtrack though is a mixed bag despite the fact that it captures the spirit of the film. With old-time music ranging from the Chords, Chuck Berry, Hank Williams, and Jimi Hendrix, the rest of the soundtrack includes such mainstream artists as Sheryl Crow, John Mayer, James Taylor, Brad Paisley, Rascal Flatts, and of all things, Kenny G.

The voice cast is truly superb with cameo appearances from previous Pixar contributors Tom Hanks, Tim Allen, Dave Foley, Billy Crystal, and John Goodman playing their respective Pixar characters in the form of cars as a tribute of sorts to John Ratzenberg’s contributions. Other noted cameo appearances from Bob Costas, Jay Leno, Mario Andretti, Michael Schumacher as a Ferrari, Richard Petty's wife Lynda as Mrs. The King, Dale Earnhardt Jr. as Junior, racing legend Darrell Waltrip as Costas' co-broadcaster, Richard Kind and Edie McClurg as two vans trying to find directions, Jeremy Piven in a typecast but funny role as McQueen's agent Harv, and Finding Nemo director as the rusty car Fred. Other Pixar contributors like Lou Romano as a street racing car, the late Joe Ranft (whom the film was dedicated to) as Red and the Peterbilt truck, and John Ratzenberg as the truck Mack whose voice is so memorable that he's one of the reasons that Pixar is the best 3-D animation studio.

Michael Keaton is great as the cheating, 1980s stock-car with a mustache who likes to spur insults on McQueen and cheat as the rival that everyone loves to hate. Racing legend Richard Petty is also great in the role of The King, the 1970 Plymouth Superbird racing legend who gives McQueen advice on being a champion and such. Katherine Helmond is funny as the old 1923 Ford Model T car Lizzie who has some funny one-liners and is often forgetful. Jenifer Lewis is sassy as the 1957 Motorama show car gas station owner Flo who provides the best gas on Radiator Springs while Cheech Marin is cool as the 1959 Chevy Impala Lowrider Ramone who likes to give cars good paint jobs. Michael Wallis is good and funny as the 1949 Mercury Club Coupe police car who makes sure McQueen doesn't try to run away while having to get repairs for his old parts. Paul Dooley is also good as Willys Army model jeep Sarge who often banters with the 1969 VW Bus Fillmore, played wonderfully by George Carlin, who likes to sell organic fuel and listen to Jimi Hendrix.

Tony Shalhoub is excellent as Luigi, the 1959 Fiat 500 who sells tires and only pay attention to European racing circuit with a love for Ferraris yet it's Guido Quaroni as the little Isetta forklift named Guido that steals the show with his hope to put in new tires for a race as he says the word "Peet stop" with such delight. Larry the Cable Guy is hilarious as the rusty 1950s model tow truck Mater who befriends McQueen while teaching him how to drive backwards with fantasies of wanting to ride in a helicopter.

Bonnie Hunt is wonderfully subtle as the voice of reason in her role as the 2002 Porsche 911 model Sally Carrera who shows McQueen a world that is different from the world he's been as she becomes a potential love interest. Paul Newman is superb as 1951 Hudson Hornet model Doc Hudson who despises McQueen for who he is as he later reveals about his own racing past and what happened to him only to become his unlikely mentor. Owen Wilson is perfectly cast as the cocky, arrogant Lightning McQueen, a hybrid of Le Mans endurance racer and Ford, who goes through the biggest development as he learns about being a true winner and having a good team to back him up.

While Cars isn't as superb or as brilliant as other Pixar films, John Lasseter's tribute to NASCAR and the American road films is still an excellent 3-D animation feature film that has enough spark and entertainment value that is undoubtedly watchable. Fans of the films that Pixar have created will feel that Cars is the weakest of the bunch yet in comparison to most 3-D animated films not put out by Pixar. Cars still beats them in terms of heart and technical brilliance. In the end, for a film with memorable characters, lot of energy, and great themes, Cars is the film to go see.

Pixar Films: Toy Story - A Bug's Life - Toy Story 2 - (Monsters, Inc.) - (Finding Nemo) - The Incredibles - Ratatouille - WALL-E - Up - Toy Story 3 - Cars 2 - Brave - Monsters University - Inside Out - The Good Dinosaur - (Finding Dory) - (Cars 3) - Coco - Incredibles 2 - Toy Story 4 - (Onward) - Soul (2020 film) - (Luca (2021 film)) - Turning Red - (Lightyear) - (Elemental (2023 film)) - Inside Out 2 - (Elio) – (Toy Story 5)

© thevoid99 2011