There are few names more synonymous with great movies than Steve McQueen. Everybody has their list of favorite actors, but nobody who knows anything would deny McQueen a place at or near the top of the heap. A perusal of his filmography is essentially a recitation of the coolest movies of his day. The Magnificient Seven, The Thomas Crown Affair, Bullitt and The Great Escape are only the most recognizable titles from a career of great acting that was unfortunately cut short by cancer. All of them are favorites of mine. But ultimately, I’m The Functioning Addict, so I’m going to recommend The Cincinnati Kid.
The plotline of the film is classic poker movie and is well executed. In short, McQueen portrays Eric “The Cincinnati Kid” Stoner, (I’m not getting started on the name, people.) the best stud player in the city of New Orleans, and a guy whose reputation is beginning to be well known nationally. Through connections he has in the city, he sets up a game with Lancy Howard, the greatest, best known stud player in the nation, a merciless cutthroat who goes simply by the moniker, “The Man.” A powerful local takes a financial interest in the outcome of the match up, and does all he can to spoil the fairness of the match in the Kid’s favor. But the Kid wants the game to be completely square, so that when he beats Howard he will know that he is truly the best. The denouement of this state of affairs is as surprising as it is effective.
If it was just McQueen carrying this movie it would be really good but not classic. What makes this film great is the incredible supporting cast, a veritable who’s-who of acting in the twentieth century. Edward G. Robinson’s portrayal of Lancy Howard is one of his strongest performances in a career that began in 1916 and ended impressively in 1973 with his supporting role in Soylent Green. Karl Malden is at his best as “Shooter” an earnest, honest, percentage playing gambler who struggles with his ethics when he finds himself between a rock and a hard place. In many ways, Malden is one of those actors that always seems to be playing himself. (See his portrayal of Father Barry in On the Waterfront or his role as General Omar Bradley in Patton: it’s that same sincere character in a different guise and situation.) And, as usual, it works perfectly here. Ann Margaret is at her sexiest as “Melba,” Shooter’s wayward gal. Tuesday Weld pulls off the country girl gone city excellently as “Christian.” Cab Calloway brings his unique style in his appearance as “Yeller." And finally, a young Rip Torn plays the part of “Slade,” a bitter local millionaire looking for revenge against “The Man.”
The movie is filled with great scenes and dialogue, but for me nothing matches up with the opening, where The Kid pitches dimes against a young shoe shine boy while a traditional New Orleans funeral procession – complete with jazz band and umbrellas – marches into the cemetery. I can’t think of any juxtaposition more essentially gambling movie than that: death side by side with and even ignored in the company of the thrill of the wager. It reminds us that we gamble because the excitement of risk fills us with life.
The Kid beats the young boy and tells him, “You’re just not ready for me yet.” Is The Kid ready for Lancy Howard? Go out and rent this movie and find out.
The plotline of the film is classic poker movie and is well executed. In short, McQueen portrays Eric “The Cincinnati Kid” Stoner, (I’m not getting started on the name, people.) the best stud player in the city of New Orleans, and a guy whose reputation is beginning to be well known nationally. Through connections he has in the city, he sets up a game with Lancy Howard, the greatest, best known stud player in the nation, a merciless cutthroat who goes simply by the moniker, “The Man.” A powerful local takes a financial interest in the outcome of the match up, and does all he can to spoil the fairness of the match in the Kid’s favor. But the Kid wants the game to be completely square, so that when he beats Howard he will know that he is truly the best. The denouement of this state of affairs is as surprising as it is effective.
If it was just McQueen carrying this movie it would be really good but not classic. What makes this film great is the incredible supporting cast, a veritable who’s-who of acting in the twentieth century. Edward G. Robinson’s portrayal of Lancy Howard is one of his strongest performances in a career that began in 1916 and ended impressively in 1973 with his supporting role in Soylent Green. Karl Malden is at his best as “Shooter” an earnest, honest, percentage playing gambler who struggles with his ethics when he finds himself between a rock and a hard place. In many ways, Malden is one of those actors that always seems to be playing himself. (See his portrayal of Father Barry in On the Waterfront or his role as General Omar Bradley in Patton: it’s that same sincere character in a different guise and situation.) And, as usual, it works perfectly here. Ann Margaret is at her sexiest as “Melba,” Shooter’s wayward gal. Tuesday Weld pulls off the country girl gone city excellently as “Christian.” Cab Calloway brings his unique style in his appearance as “Yeller." And finally, a young Rip Torn plays the part of “Slade,” a bitter local millionaire looking for revenge against “The Man.”
The movie is filled with great scenes and dialogue, but for me nothing matches up with the opening, where The Kid pitches dimes against a young shoe shine boy while a traditional New Orleans funeral procession – complete with jazz band and umbrellas – marches into the cemetery. I can’t think of any juxtaposition more essentially gambling movie than that: death side by side with and even ignored in the company of the thrill of the wager. It reminds us that we gamble because the excitement of risk fills us with life.
The Kid beats the young boy and tells him, “You’re just not ready for me yet.” Is The Kid ready for Lancy Howard? Go out and rent this movie and find out.
No comments:
Post a Comment