Yes, for God’s sake, I’m aware of the similarities to GoodFellas.
It’s a strange human trait, but if an individual in a group professes love for American Hustle, there’s always that one dude – The guy who believes he’s most ‘in the know.’
Regardless of any real opinions, he’ll say, “Yeah, I thought it was pretty good. But it draws too much from Scorsese’s early work; namely GoodFellas.”
If you hear this in a professional business environment, at home, in the church confessional booth or what have you; I urge you seek out this monster, and silence their blowharding with a crescent kick.
Because David O. Russell’s most recent effort is a spectacular film.
I don’t think I can oversell this character study, with its ten Oscar nominations and three wins at the Golden Globes.
One is for ‘Best Comedy or Musical.’ Here’s a diabolical scheme waiting to hatch: Remake The Producers (again) and secure a nomination for this award. No matter what the competition, it’d have to win by default, no?
Amy Adams took home a Globe for Best Actress and Jennifer Lawrence nabbed the gilded sphere for Supporting Lady.
As it pertains to performance in film, those were three of the most deserved awards distributed for the previous year.
I walked into the theater with my nose held high in the air. The movie looked overwrought with cliché, but I had seen the trailer several dozen times.
Plus, I was only familiar with one David O. Russell film by then; Silver Linings Playbook. For further reading on my historic disappointment in SLP check out my review.
(I caught The Fighter a month later; solidifying my certainty in Davey Russ’s directing ability.)
If you haven’t seen American Hustle, it’s #2 on my ‘Best Films of 2013’ list, so go into it with reasonable expectations and you should be swept away.
What else can be said? It’s a great movie that’s sure to delight.
So if you haven’t seen it and you’re sensitive to potential spoilers, stop reading now.
There is plenty of material up for discussion surrounding this film. For now, I’ll focus on several plot aspects I found noteworthy, and then talk a little smack about Jared Leto, before wrapping things up.
Jeremy Renner, who deftly performs a tense unfolding of his character’s arc, plays what is potentially the most compelling role, Mayor Carmine Polito.
The opening title card before Fargo, the Coen brothers’ film, is a comedic take on a common trend in modern movies. The appearance of the words, “Based on a true story,” is a complete red herring. Fargo’s entirely fictional!
David O. throws his hat in the ring with another satirical take on the opening title card. At the beginning of Hustle the words read: “Some of this actually happened.”
The message triggers a hearty laugh, and it’s a great reveal (especially being unacquainted with the story’s connection to reality.)
As I mention in my review of Elysium, the ‘parable’ is a prolific plot device often utilized in a clumsy fashion. Therefore, it often comes off as cliché or contrived. Neill Blomkamp avoids this by having the protagonist interrupt another character’s allegorical narrative with a summary of the conclusion. (To astounding effect, I might add.)
O. Russell’s version of the parable is a fishing story that Louis C. K.’s character (Stoddard Thorsen) tries to tell Bradley Cooper (as FBI agent Richie DiMaso) throughout the film. It’s uproariously comedic, eloquent and dynamic.
While it serves to reveal subtle character traits, it’s also a brilliant and original take on an ancient plot device.
Turns out I like my Cooper like I like my women: Unhinged and antagonistic.
That’s a dumb joke but the sentiment towards BC retains credence. On top of his roles in Wedding Crashers and The Hangover, Brad’s shown impressive villain chops, and we should all appreciate him a little more next holiday season.
Cooper, and by the same token Michael Fassbender (for 12 Years a Slave), were snubbed for the Best Supporting Actor Award.
But not to worry, because Matthew McConaughey, a handsome straight Caucasian depicting a character of similar description, will be winning an award, so they’ve reached their limit on that demographic.
I’m reminded of an award season several years ago, when Milk was getting a lot of press. Okay, yes, Sean Penn depicts a convincing portrait of a gay man. But the movie’s boring! (And, side note, Harvey Milk wasn’t the greatest guy in real life.)
Jared Leto (whom I don’t mean to criticize, unless we’re talking about acceptance speeches) did a fine job of depicting a transsexual. But I found his character enormously off-putting, and as much I appreciate the effort that went into the performance, Leto just doesn’t do it for me.
But that’s DBC, not the hustling Americans.
Ready for a strong opinion?
All of the cast’s main players are wildly prolific in modern cinema, and judging by their performances in previous films, are among the most talented actors working today.
Every single performance I’ve seen by Christian Bale, J-Law, Coop-A-Loop, Amy Adams, J. Renner and Louis C.K., has been spot-on, nuanced and (for all intents and purposes) near perfect.
If that doesn’t tell you anything about this film, nothing will.
Go out and catch American Hustle before it loses its crispy freshness!