Robert Rossen was a director with very short resume who struck early success with All the Kings Men, but waited twelve long years to repeat that success. That film was The Hustler, starring Paul Newman as billiard beast ‘Fast’ Eddie Felson.

The film follows the hotheaded Felson as he frequently gets in his own way trying to find some level of prosperity utilizing his talents. His hubris and machismo lead him to challenge the great pool player Minnesota Fats, played by a confident and charming Jackie Gleason, to a game of high stakes pool. This does not end well for Felson, and as he finds bottom in both his profession and his codependent relationship (Piper Laurie), Fast Eddie begins the climb out of his hole with some help from a smarmy businessman (George C. Scott). The question is not will or can he get out, but what it will cost him as a man to do it.

Newman is superb as Felson. He is at once brash an insecure; also clever and naïve. There is a coldness at times that could make him kin to Newman’s own character from Hud. Gleason is a great presence and Laurie is superb as Eddie’s girl who has demons of her own. Scott is quite a standout as a seedy, unscrupulous sod who only sees in angles. The cast is filled out by the always excellent Murray Hamilton and Michael Constantine. Boxer Jake LaMotta and Vincent Gardenia have small roles as bartenders.

Director Rossen handles space well, and provides a showcase for his talented cast. He moves when he needs to move, and isn’t afraid to linger a bit to capture little moments from his cast. Eugen Shufftan’s (Eye’s Without a Face) black and white cinematography is gorgeous, with great contrast both in scenes, and from location to location. There is a chill to it that echoes the story and its’ characters.

The Hustler shows you a talented man, and explores all of the things that go into creating a life where that talent can’t see you through; a loser CAN be the person with the greatest gift. It is a beautiful character study, well played and handled by all, that may be a bit harsh and frigid at times, but not so much that it obscures Rossen’s accomplishment: One of the finest films produced in America in the sixties.