By Marc S. Sanders
The Color Of Money is the first and only time that director Martin Scorsese tackled a sequel of sorts. Paul Newman returned to the screen as Fast Eddie Felson, the hustling pool shark from thirty years prior in The Hustler. That movie established his career on a bigger scale going forward.
Fast Eddie is older now, and wiser. He’s much more humbled as a bar owner with a conservative amount of cash on the table to stake younger pool players for small time wagers. A young John Turturro is who he relies on and quickly loses faith in when a brash, cocky kid named Vincent Lauria (a perfectly cast Tom Cruise) easily undoes his opponent.
Eddie sees the talent in the kid. He’s got a helluva break and clears a game of nine ball with as much speed as he has conceit. What he lacks for in brains and instinct is made up in Vincent’s cool and mature girlfriend Carmen (Mary Elizabeth Mastrantonio in an Oscar nominated role). It does not take long for Eddie to coach her into realizing that together they can make a lot of money off of what Vincent can do in pool halls across the country. If only he’d listen to them and do what they tell him to do. Vincent can’t comprehend how sometimes you win a whole lot more, when you lose first.
Scorsese works his camera like a swinging Steadicam. When he gets close ups of this trio of actors, it’s never just a close up. He’ll position his lens in a northward direction and then swing around east. Newman, Cruise and Mastrantonio trust the eye of the camera to follow their performances. There’s an energy to this kind of shooting. It makes for a great style. Scorsese was doing this novel kind of filmmaking, going all the way back to 1971 with Alice Doesn’t Live Here Anymore. The director is so favored because as typical as a script might seem by its title or its prose, he’s going to find an exhilaration to its narrative.
Along with the director’s resident editor Thelma Schoonmaker, there’s a crackle and quickness to the many variations of pool play – much more playing than I believe was featured in The Hustler. Schoonmaker makes sure to cut in the cracks of the pool balls as they collide with one another. The blue cue chalk snows off the tip of the cue sticks. Reflections of the players appear in the shine of the balls. Close up profiles of Cruise and Newman lower down into frame just before they take their shots. Before the kinetic energy found in later films like Goodfellas and The Departed, Scorsese and Schoonmaker were already putting their tag team best at play in The Color Of Money.
Yet, all of this is style with not so much substance. What kind of story does this next installment in the legacy of Fast Eddie Felson have to say? Not much really. While the three actors are doing top notch work, the conversations run very repetitive and do not build toward higher stakes or developments. Time and again they argue over Vincent’s refusal or naivety to understand the hustling strategies that Eddie has in mind. Carmen gets it but she goes her own way more often than cooperating with Eddie. Simply, this is a story of the protégé not grasping what the mentor is trying to teach, and it never evolves from that problem. It gets stagnant.
What changes within the second half of the film is the introduction of a championship pool tournament in Atlantic City. Therefore, it’s easy to expect a showdown between Vincent and Eddie. It happens and there is a twist of a dagger included, but then when the real competition is about to begin, Scorsese concludes his film. Does it matter who is the better player? I don’t know, but as the film is wrapping itself up, one character gets short changed. When that’s discovered, the film opts to also shortchange the audience. I didn’t think that was very fair.
I think about the notorious ending to the HBO series The Sopranos. Sure, it’s an ending no one will ever forget but for all the wrong reasons, and I defiantly believe it is because the storyteller ran out of imagination or lost his confidence in upholding an ending that he really wanted. I feel the same way with The Color Of Money. The film establishes the skills, intelligence and capabilities of these characters. Yet, when you take the tool kits away from them, the building never gets completed; only left abandoned.
I’m drawn to watch The Color Of Money. Michael Ballhaus’ photography is smokey and colorful. I can’t get enough of Paul Newman’s gravelly vocal inflections or even how he unfolds hundred dollar bills from the roll in his pocket. Tom Cruise humbles himself to look like an idiotic jerk and it works well against the maturity of his scene partners. Mary Elizabeth Mastrantonio oozes sexual appeal with a lot of brains to uphold the cons. She has sensational scenes with Paul Newman. There’s a coolness to the picture because of the cast, the settings, the sounds, the visuals, the editing and the direction.
This film arrived in 1986 with rock music from the likes of Eric Clapton and Phil Collins. Beyond Miami Vice and an assortment of John Hughes teen flicks, these artists were making for effective needle drops of atmosphere in films from the 1980s. Scorsese’s use of the camera keeps me engaged, but when I look at what the characters are anchored to only do, and never rise above, the film does not hold the weight of other character studies that several of Newman’s and Scorsese’s pictures were so astute at achieving.
One scene transcends the arc of Newman’s character and it works beautifully within or out of the context of the picture. A relatively unknown Forest Whittaker portrays an unlikely kid who goes up against Fast Eddie. As the long scene evolves over their pool competition, the writing hearkens back to the weaknesses and torment that defined Eddie Felson’s character in The Hustler. If you watch the first film and then jump over to this scene, you recognize a connection for the protagonist of both pictures. Beyond that The Hustler and The Color Of Money stand a long distance apart from each other. This scene though is always a favorite of mine for the eventual Oscar winner, Forest Whittaker. Watch how Whitaker holds his cue stick when he exits the scene. Think about how he picks the cash up from the table after Newman drops it. Consider, what his character Amos really means when he asks Eddie: “Do you think I need to lose some weight?”
Had The Color Of Money used more of Whitaker’s character in the film along with the other three, there might have been something more solid to say and introduce within the world of pool hustling with a 1980s barroom vibe. Same could be said if John Turturro’s character was utilized more.
Paul Newman received the Oscar for this picture. The actor was nominated seven times before, having never won and the irony is by the time this nomination arrived, Newman opted not to attend the ceremony. Roles in films like The Verdict (for which he should have won the award) and Cool Hand Luke were much more memorable and fleshed out. I’d argue Newman likely knew this was not his best performance because it was not the best written of his long-established career, and so he genuinely did not expect to win. Because he won, it became a celebration of his legendary status as an actor who should have been taken much more seriously, much sooner. (Two more nominations would follow in Newman’s career.)
2 UNPAID MOVIE CRITICS!!!! 