Archive for The Hustler

Dick O’Clock

Posted in FILM with tags , , , , , , , , , , , , , , , , , on June 12, 2021 by dcairns

“Terrible news,” said Billy Wilder. “Bob Rossen made a good picture.”

Frustratingly the anecdote doesn’t tell us which picture Wilder thought was good, but the line is funny enough that it could stand recycling, so maybe Wilder applied it whenever Rossen made something decent — ALL THE KING’S MEN, THE HUSTLER…

“This film has no story,” said Fiona, but in fact Rossen’s debut, JOHNNY O’CLOCK has a lot of plot, it’s just that it all plays out in dialogue, characters talking about people and events that are offscreen. Two murders take place before the climax, but we don’t see either happen.

But it’s entertaining. The talk is good. The people, Dick Powell and Thomas Gomez and Evelyn Keyes and Lee J. Cobb and Ellen Drew (unusually but effectively cast as a sexy bad girl) and Nina Foch, are all very flavourful. The bits players are colourful — people like Shimen Ruskin and a girl called Robin Raymond, who has an interesting scene. She plays a hatcheck girl. The previous hatcheck girl, who was touchingly sweet, is dead. RR plays her replacement, who is crass, vulgar and stupid. She plays it enthusiastically for laughs, and gets them, but the dramatic point of the scene is Johnny’s melancholy — he misses the previous girl. So it’s a scene that manages to head in two directions at once, and miraculously reaches both destinations.

Mostly it’s a kind of mash-up of elements that worked in other movies just beforehand, or else slightly later movies reworked the same stuff and made this one seem familiar, prewatched. If Dick Powell went through the wrong door he’d find himself in THE GLASS KEY or I WAKE UP SCREAMING.

I feel like the movie would work really well for the drunk or high viewer — the story often seems a tad cloudy and you could get into that. William Hurt watches a movie stoned in THE BIG CHILL and he says “I think the guy in that hat did something terrible,” and “Sometimes you just have to let art… flow over you.” I had a couple gin and tonics but I started too late to really disassociate from the wispy narrative.

I did get into a strange routine about Momo’s expensive cat treats, which are supposedly duck and raspberry flavour. “They have to catch a duck while it’s eating a raspberry. Then they get it in the duck press and compress it down until it’s just one tiny treat. When Momo eats them they expand to almost full size. He’s sturdily built, luckily. A flimsier cat would burst, and you’d just have a bunch of ducks and raspberries.”

Fiona here –

I was also involved in these musings, which were centered around Momo’s almost constant shouting.

The expensive treats are to placate him and shut him up. We’re terrible parents. I started with “I’d eat those cat treats.” The duck and raspberry combo sounded tempting. Then Mr Crayons launched into his baroque monologue about the creation of the treats.

We then strayed into another area of interest regarding the Shutting Upness. David suggested a special electronic chip like Snake Plissken wears in Escape From New York. Every time Momo attempted to enthusiastically vocalise through his big, fat mouth, the collar would shock him into quietude. Or blow his head off. It has to be said, sometimes the thought of Momo’s head exploding is a rather attractive one. We’re terrible parents.

To round things off, it’s my belief that the fact we have these strange conversations is the secret of why we’re still together after twenty seven years. That and being married by Norman Lloyd. When you’re married by Norman Lloyd, you STAY married.

JOHNNY O’CLOCK is one of the best films in the Columbia Noir 3 box set. I contributed an essay on THE DARK PAST.

Three-Dimensional Chess

Posted in FILM with tags , , , , , , , , , , , , , , on November 6, 2020 by dcairns

I read Walter Tevis’s The Queen’s Gambit years ago and loved it. His other filmed books, The Hustler and The Man Who Fell to Earth are great too, and made good movies but the books are still worthy of investigation. The Color of Money doesn’t really have anything much in common with Scorsese’s film and you can see why they chose a different story (“but the book had a very good love story,” said Scorsese in Edinburgh, which was nice of him to note). And there’s an unfilmed sci-fi novel, Mockingbird, which is really beautiful.

I’ve also been impressed with Scott Frank’s stuff — he adapted Elmer Leonard for Soderbergh (OUT OF SIGHT — still maybe SS’s best movie) and from the audio commentary on that one you could tell he was going to direct, and probably be really good at it. And THE LOOKOUT, his first film, was terrific. Like all the promising middlebrow genre filmmakers of his generation, he did time in the Marvel salt mines but the one he wrote, LOGAN, is said to be GOOD. I wasn’t paying attention and thought A WALK AMONG THE TOMBSTONES was just some Liam Neeson movie so I skipped that but now I have bought a DVD of it for 50p because WOW Scott Frank’s miniseries of The Queen’s Gambit is a beautiful thing.

From my memory of the book I can affirm that the CGI visualisations of chessboards are pretty much what Tevis wrote. It’s very faithful though some melodrama early on is removed, which I came to accept as a good call. Though maybe Tevis gains something by making his heroine more damaged.

I can’t recall the clothes in the book — I had a vague impression that Anya Taylor-Joy is more glamorous than the Beth Harmon who Tevis gave us, but I’m probably misremembering. But boy, ATJ is a magnificent screen presence. Her glamour is increasingly weird and witchy so she’s a credible outsider. In fact, everyone in this is terrific, down to the smallest roles — each minor player defeated by ATJ, for instance, is a little one-scene cameo and they’re all uniquely human and different.

Photography, design, music, cutting, are all weapons-grade delicious, and as the story moves through the sixties Scott allows himself a subtly evolving stylistic palette that reflects developing film language of the period without ever becoming pastiche. You don’t see more surefooted choices than this. He could maybe have taken some of them even further, but his caution is probably part of the reason why he hits absolutely everything he aims at.

Nothing negative to say about this show at all, it may be the best American film or “film” of the year.