mmallon4 I've never been more aroused by a film's editing and cinematography than that featured in The Color of Money, a film which I ultimately enjoyed more than it's predecessor The Hustler. It just so happens I first watched The Color of Money during my time as a film student and attempted to replicate many of the film's shots and edits for a music video (and an intentionally 80's music video at that) as I studied the cuts present in the film frame by frame. Needless to say I was not entirely successful in my endeavour. The Color of Money has the fast pace and rhythm of MTV music videos but still with a sense of old school class and sophistication; right from the opening credits I can tell this would be a movie dripping in atmosphere. A movie so snappy, fast paced and full of quick edits, many of which come unexpectedly along with many unconventional camera movements yet it never feels disorientating or distracting as the scenes glide with such fluidity and ease. The cinematography on display here isn't that of a David Lean production, no this is a movie which largely takes place in bars and pool halls yet it still has a sense of majesty and scope even if the shot in question is a close up of drinking glass. Really the only edit I can fault is the very cheesy freeze frame of Paul Newman jumping out of a swimming pool. On the other hand nobody uses licensed soundtracks better than Martin Scorsese. I get the impression scenes in the film where shot with the music in mind and not as an afterthought. With the opening scene it feels like Phil Collins' One More Night was specifically composed to fit the mood and tone of the scene.The Color of Money however is not style over substance. I love the intriguing character triangle of a trio of hustlers as well as the harmony of two generations coming together. Tom Cruise is an actor I only like in certain parts but in roles such as Vincent, a cocky, male fantasy indulging character who embodies the entrepreneurial and capitalistic spirit of the 1980's (like his character in Risky Business), I simply revel in - as Eddie puts it "a natural character". Just as impressive are pool shots done by Cruise himself (he performed all but one of his own trick shots); makes me energised to play some pool myself.

Red-Barracuda This sequel to The Hustler (1961) was directed by Martin Scorsese. It's not necessarily the most typical type of film you may expect from him. It was in fact one that he did for the studio and was not one of his more personal efforts. By working on a commercial project like this, Scorsese then had leeway to make his next film, the ultra-personal and controversial The Last Temptation of Christ (1988). Consequently, because this wasn't material he was fully passionate about, it's not so surprising that this isn't amongst his best work. That said it is still a good film. Scorsese still manages to employ much of his typical energetic style into the flow of things, making even the game of pool pretty dynamic to watch.The film is maybe even better known for its acting though, with Paul Newman returning to play an older version of the character Fast Eddie Felson who last appeared in The Hustler twenty-five years previously. His character now manages young hustlers like he once was and, in doing so, takes a huge slice of their winnings. It's a role-reversal for the character and Newman is once again very good, although despite the Oscar win, he was even better in The Hustler. Tom Cruise plays off him as the cocky youngster in a type of role that we've seen him perform many times in fairness. He is good enough though and the two actors do work off each other well. The dynamic between them is reasonably predictable to an extent with a plot arc where their relationship starts off shaky, gets worse then finally clicks. But, off course, success breeds complications. Events do ultimately reach an unusual and ambiguous conclusion, which I wasn't too sure about personally but at least it ended things on a less obvious note.

tbills2 The Color of Money ain't about pool. The Color of Money isn't about young Vincent, or his girlfriend, Carmen. And believe it or not, The Color of Money isn't even about money. The Color of Money is about Paul Newman's character, Fast Eddie Felson, and his salvation to place meaning with significance to his trying lonely life as a pool hustler. Viewers lost in the glam of hustling pool or the action of 9-ball are missing out seeing the real beauty of this film of the story told. The story and life of Fast Eddie Felson that is. And credit to Paul Newman to go along with the brilliant character of course. Newman gives his grade A+ performance, one of the best I've ever seen, from Newman, or from anybody that is. Paul Newman is beautiful. The Color of Money is one truly exceptional character piece. The Color of Money, for my money, is better than The Hustler. It's an incredible sequel. It's an incredible feature. It's one of my more loved movies, mostly for Paul Newman's performance, but also very much for Mary Elizabeth Mastrantonio and Tom Cruise as well. Mary Elizabeth Mastrantonio is the main co-star here, and Tom Cruise takes on third role. I love the beautiful Mary Elizabeth. She's so good. She has such true acting abilities, which is rarer to find in Hollywood than one might think. Tom Cruise is great as Vincent, one of his more well acted roles to go along with Jerry Maguire and Rain Man, which is his best. Tom Cruise has some true acting talent too, just not like Newman or Mastrantonio, only because that they are two of the very best. Cruise has more star quality though. Don't get me wrong. The kid can act. I just love Tom Cruise. The best of the magic of The Color of Money happens between Newman and Mastrantonio as they quietly share a magnetic connection. The magnificent Martin Scorsese is a master of his trade, maybe the best in the business, and The Color of Money is one other misperceived, under-appreciated Scorsese classic, to go along with Casino and Gangs of New York, as well as but to a smaller scale, Shutter Island, The Aviator, Cape Fear, Bringing Out the Dead, and Mean Streets. The Color of Money is a 9 out of 10 ranking, an outstanding mark, nothing less. I hope I spelled Mary Elizabeth's last name right every time, Mastrantonio. It would be too entirely challenging to revise such a mishap. But I know that I did. Mastrantonio, God, that's a terrific name.

A_Different_Drummer Maybe you once spent some time in Hollywood? Maybe you did not? On this next point you should trust your friendly reviewer. The values are different. The goals are different. The yardstick for measuring success is different. As always, other IMDb reviewers have covered the story and highlighted some of the most interesting moments. But what is missing from those reviews is how anxiously the "boys" were looking forward to seeing how this experiment panned out. For some of us the "pot of gold" at the end of the rainbow is money. For others fame. For the mavens in Tinseltown, it was getting a definitive answer to one of the most elusive mysteries in the biz -- can an actor well past his prime "revisit" one of his greatest roles (actually one of the greatest performances ever set to celluloid, period) after a lay-off of 25 years, and still deliver the goods? Recall (assuming you are a fight fan) that Ali could never, even after just a few years on the sidelines, bring back the speed and the snap he had BEFORE he was suspended. Frankly, you have to give Newman credit for even attempting to bring Fast Eddie back to life. Did he succeed? If you are looking for a definitive answer from me, I don't have one. I will say that the attempt, while on the one hand heroic, was at the very same time a serious cautionary tale for any actor thinking of trying the same stunt. The tone and direction were different. And the financial guys, the suits, did what they always do in this sort of situation, they threw in a younger guy as "insurance" to make sure the film didn't flop while waiting for the geriatrics to show up on the wheelchair ramp. (They needn't have bothered, this is possibly Tom Cruise's worst performance next to FAR AND AWAY and completely forgettable). If you are a film fan, and you have seen HUSTLER, oh, maybe six or twenty times, then you owe it to yourself to check our this longshot. Otherwise, give it a pass.