The Hustler

Newman gives a restrained, modulated performance, an unusual one in that character development is sought and achieved with utilization only of voice, gesture, intensity.

Rosen, the co-author, has directed with a sure, economical hand. Newman is first-rate.

Like a traditional morality play; teens and up.

Newman is better than usual; Gleason, as the slit-mouthed, beady-eyed Minnesota Fats, darts among the shabby little pool sharks like an improbably agile and natty whale; and Gambler Scott looks as though he could sell hot-air heat to the devil.

This is the purest examination of an athlete's internal struggle ever mounted for the screen.

The Hustler belongs to that school of screen realism that allows impressive performances but defeats the basic goal of pure entertainment.

As a showcase for one of Paul Newman's best screen performances, it's still a masterpiece, with Newman, Jackie Gleason and George C Scott striking sparks in the perfectly captured seedy pool-hall atmosphere.

...features one of Paul Newman’s most tarnished, self-destructive golden boys.

A tragedy at the conclusion proves yet again that the motives and beliefs are way off base, inspiring a fantastical comeback rather than a believable change in dauntlessness.

...fares best as a showcase for stellar performances and first-class cinematography.