Paul-Newman Movie Reviews

Sidney Lumet was fortunate that Paul Newman was giving one of the best performances of his distinguished career in front of the camera on "The Verdict," because this 1982 courtroom drama has a fatal flaw that might othrwise have sunk the film. I do not know if the fault lies with David Mamet's screenplay or Barry Reed's original novel, but one of them is definitely the guilty party in this film that otherwise features a steallar script and grand performances from a veteran cast.

Newman, in an Oscar nominated role, is Frank Galvin, a cynical and alcoholic ambulance chaser who is tossed a bone by old friend Mickey Morrissey (Jack Warden) in the form of a personal injury suit. A young woman went into a hospital, owned by the Roman Catholic Church, was given the wrong anesthetic, became comatose, and is never coming back. The idea is that Frank will do the paperwork, accept the settlement offer, and go back to sinking into oblivion. But circumstances convince him to get his day in court and go for broke.

One of the key dyanmics of this film is that even as Galvin has sunk so low as a lawyer, his opponent, Ed Concannon (James Mason, also deservedly nominated for an Oscar) represents one of the most corrupt large corporate law films in film history. Concanno will literally do everything possible to defend his client, as we see over the course of the film. Clearly the goal for Concanno is not justice but victory, while for Galvin the two become one in the same. Mason's performance is as strong as Newman's, mainly because Mamet has written some great scenes for each actor's character. But then, think of what is involved to make Newman the underdog in a major Hollywood movie.

The flaw in the movie comes when we learn that while Concanno has an army of associates as well as a large law firm and the weight of the local archdioesce behind him, Galvin might actually have the truth on his side. The case comes down to the claim of a proverbial last minute surprise witness as to what "really" happened and exactly what was the mistake that made the young woman brain dead. This becomes more than a case of contradictory testimony but one of contradictory records as well. At this point the every ready Concanno pulls out the appropriate legal precedent to have the piece of evidence thrown out. The judge agrees, Galvin throws a fit, and the verdict comes down to what sort of an empassioned speech our heroes gives in his closing.

The only problem is that the rule is wrong, and even viewers whose legal background consists of several seasons of "L.A. Law," "Law & Order," "The Practice" or even "Ally McBeal" can probably spot the flaw in the judge's reasoning. Even if they cannot come up with a sound legal basis for overturning the ruling, they will recognize on a fundamental level that this is just not right. I have every reason to believe that the twelves jurors true sitting in judgment of the case recognize the sense of injustice as well and just might have their minds made up before Galvin's closing argument.

Granted, most viewers are probably not as offended by this plot device as I am, especially given the mesmirizing performances of Newman and Mason. But I cannot get away from the idea that the flaw robs Newman of his climactic moment. Given the facts of the case there might not be any way around that particular legal predicament, but that would be a crime of a different nature.

"The Verdict" opens in a bittersweet, comical way, in which Paul Newman's portrayal of the alcholic lawyer Frank Galvin sort of recalls Walter Matthau's "Whiplash Willie" Gingrich from Billy Wilder's "The Fortune Cookie" (1966). We see Galvin sink beneath the gutter as he presses his business cards into the palms of grieving mourners. But, similarities end there: Given the most unlikely circumstance -- a malpractice suit -- Galvin sees the light at the end of the tunnel, redemption for the sorry mess he's made of his life. This movie unfolds like a revelation, but slowly, so that along with Galvin, we discover the small shred of remaining integrity within him that rises up and becomes courage: He turns down an insurance settlement to do battle against two renowned physicians, a corrupt Boston cardinal (played by the great character actor Edward Binns), a corrupt judge (Milo O'Shea) and the city's largest, slickest, law firm, whose legal team is headed by James Mason, in his final role as the suave and cynical Concanon. Galvin's transformation from self-professed ambulance chaser to a true man of the law fighting for nothing but justice is one of cinema's most inspiring performances, because Galvin *is* a weak man, set upon by demons from his failed past, and by fear of an uncertain future. Still, he trudges on, sinks his teeth in and never backs down, despite one unlucky turn after another: His star witness disappears, his hired "expert witness" has a second-rate medical background, and the judge strikes out almost every shred of evidence favourable to his case. Yet, through his conviction and sheer will power, Galvin convinces the jury of the malpractice commited against his client, a woman put in a coma by negligent doctors.

Watching Frank's transformation is simply awe-inspiring, because screenwriter David Mamet wrote it so subtly, and because it happens to Newman over the course of the movie. There's no "light bulb look" that comes over him all of the sudden; Rather, we can see the dim flicker slowly and gradually burn to a raging flame.

Director Sidney Lumet brilliantly captured the human drama of "The Verdict" by letting the actors and the dialogue carry the movie; It's far less cinematic than his earlier movies such as "Serpico" or "Twelve Angry Men." This really lets the viewer get into the characters: Not only do Newman and Mason shine, but Jack Warden (as his gruff mentor), Lindsey Crouse and Charlotte Rampling really help flesh out the movie and make it utterly believable through their conviction to character.

"The Verdict" ends properly: Laura Fischer(Rampling), who has seduced Frank and reluctantly betrayed him, telephones him to make amends. But Frank, stronger from the ordeal of his life, maintains his integrity, knowing who is on the other end of the line, never picks up. Now not only has his client won, but he's won back his soul. Straight cut to black, titles.

I was so taken by this movie, that I was certain that Newman and Mason won Oscars for their performances. I was wrong. In real life, justice does not always win the day.

I will never understand how Paul Newman didn't get an oscar for this film, or for "Hud", or for "The Hustler", or for "Cool Hand Luke", or for...well, you get the idea.... In "The Verdict" Paul is an alcoholic lawyer--an ambulance chaser--who is handed a civil case by a friend (played by the great supporting actor, Jack Warden) that will easily get him out of debt, as long as he doesn't go to court. While taking pictures of the comatose victim, Paul suddenly sees himself for what he truly is, and decides to forsake the out of court settlement, and take it to trial. What he doesn't know is how outclassed he is by the rich defense attorney (played wonderfully by James Mason) and his legal entourage. This is a gripping drama that has a couple of plot holes to side-step, but once you do, you're in for a real treat, along with one of Paul Newman's best performances ever. Between 1 and 10, "The Verdict" gets a 9.

Sidney Lumet was fortunate that Paul Newman was giving one of the best performances of his distinguished career in front of the camera on "The Verdict," because this 1982 courtroom drama has a fatal flaw that might othrwise have sunk the film. I do not know if the fault lies with David Mamet's screenplay or Barry Reed's original novel, but one of them is definitely the guilty party in this film that otherwise features a steallar script and grand performances from a veteran cast.

Newman, in an Oscar nominated role, is Frank Galvin, a cynical and alcoholic ambulance chaser who is tossed a bone by old friend Mickey Morrissey (Jack Warden) in the form of a personal injury suit. A young woman went into a hospital, owned by the Roman Catholic Church, was given the wrong anesthetic, became comatose, and is never coming back. The idea is that Frank will do the paperwork, accept the settlement offer, and go back to sinking into oblivion. But circumstances convince him to get his day in court and go for broke.

One of the key dyanmics of this film is that even as Galvin has sunk so low as a lawyer, his opponent, Ed Concannon (James Mason, also deservedly nominated for an Oscar) represents one of the most corrupt large corporate law films in film history. Concanno will literally do everything possible to defend his client, as we see over the course of the film. Clearly the goal for Concanno is not justice but victory, while for Galvin the two become one in the same. Mason's performance is as strong as Newman's, mainly because Mamet has written some great scenes for each actor's character. But then, think of what is involved to make Newman the underdog in a major Hollywood movie.

The flaw in the movie comes when we learn that while Concanno has an army of associates as well as a large law firm and the weight of the local archdioesce behind him, Galvin might actually have the truth on his side. The case comes down to the claim of a proverbial last minute surprise witness as to what "really" happened and exactly what was the mistake that made the young woman brain dead. This becomes more than a case of contradictory testimony but one of contradictory records as well. At this point the every ready Concanno pulls out the appropriate legal precedent to have the piece of evidence thrown out. The judge agrees, Galvin throws a fit, and the verdict comes down to what sort of an empassioned speech our heroes gives in his closing.

The only problem is that the rule is wrong, and even viewers whose legal background consists of several seasons of "L.A. Law," "Law & Order," "The Practice" or even "Ally McBeal" can probably spot the flaw in the judge's reasoning. Even if they cannot come up with a sound legal basis for overturning the ruling, they will recognize on a fundamental level that this is just not right. I have every reason to believe that the twelves jurors true sitting in judgment of the case recognize the sense of injustice as well and just might have their minds made up before Galvin's closing argument.

Granted, most viewers are probably not as offended by this plot device as I am, especially given the mesmirizing performances of Newman and Mason. But I cannot get away from the idea that the flaw robs Newman of his climactic moment. Given the facts of the case there might not be any way around that particular legal predicament, but that would be a crime of a different nature.

"The Verdict" opens in a bittersweet, comical way, in which Paul Newman's portrayal of the alcholic lawyer Frank Galvin sort of recalls Walter Matthau's "Whiplash Willie" Gingrich from Billy Wilder's "The Fortune Cookie" (1966). We see Galvin sink beneath the gutter as he presses his business cards into the palms of grieving mourners. But, similarities end there: Given the most unlikely circumstance -- a malpractice suit -- Galvin sees the light at the end of the tunnel, redemption for the sorry mess he's made of his life. This movie unfolds like a revelation, but slowly, so that along with Galvin, we discover the small shred of remaining integrity within him that rises up and becomes courage: He turns down an insurance settlement to do battle against two renowned physicians, a corrupt Boston cardinal (played by the great character actor Edward Binns), a corrupt judge (Milo O'Shea) and the city's largest, slickest, law firm, whose legal team is headed by James Mason, in his final role as the suave and cynical Concanon. Galvin's transformation from self-professed ambulance chaser to a true man of the law fighting for nothing but justice is one of cinema's most inspiring performances, because Galvin *is* a weak man, set upon by demons from his failed past, and by fear of an uncertain future. Still, he trudges on, sinks his teeth in and never backs down, despite one unlucky turn after another: His star witness disappears, his hired "expert witness" has a second-rate medical background, and the judge strikes out almost every shred of evidence favourable to his case. Yet, through his conviction and sheer will power, Galvin convinces the jury of the malpractice commited against his client, a woman put in a coma by negligent doctors.

Watching Frank's transformation is simply awe-inspiring, because screenwriter David Mamet wrote it so subtly, and because it happens to Newman over the course of the movie. There's no "light bulb look" that comes over him all of the sudden; Rather, we can see the dim flicker slowly and gradually burn to a raging flame.

Director Sidney Lumet brilliantly captured the human drama of "The Verdict" by letting the actors and the dialogue carry the movie; It's far less cinematic than his earlier movies such as "Serpico" or "Twelve Angry Men." This really lets the viewer get into the characters: Not only do Newman and Mason shine, but Jack Warden (as his gruff mentor), Lindsey Crouse and Charlotte Rampling really help flesh out the movie and make it utterly believable through their conviction to character.

"The Verdict" ends properly: Laura Fischer(Rampling), who has seduced Frank and reluctantly betrayed him, telephones him to make amends. But Frank, stronger from the ordeal of his life, maintains his integrity, knowing who is on the other end of the line, never picks up. Now not only has his client won, but he's won back his soul. Straight cut to black, titles.

I was so taken by this movie, that I was certain that Newman and Mason won Oscars for their performances. I was wrong. In real life, justice does not always win the day.

I will never understand how Paul Newman didn't get an oscar for this film, or for "Hud", or for "The Hustler", or for "Cool Hand Luke", or for...well, you get the idea.... In "The Verdict" Paul is an alcoholic lawyer--an ambulance chaser--who is handed a civil case by a friend (played by the great supporting actor, Jack Warden) that will easily get him out of debt, as long as he doesn't go to court. While taking pictures of the comatose victim, Paul suddenly sees himself for what he truly is, and decides to forsake the out of court settlement, and take it to trial. What he doesn't know is how outclassed he is by the rich defense attorney (played wonderfully by James Mason) and his legal entourage. This is a gripping drama that has a couple of plot holes to side-step, but once you do, you're in for a real treat, along with one of Paul Newman's best performances ever. Between 1 and 10, "The Verdict" gets a 9.

"Hud" is the story of an embittered, ruthless son of a rancher (Melvyn Douglas), who will stop at nothing to take over his father's cattle farm. In the lead, as Hud is Paul Newman - angry, disturbed and near psychotic in his absence of feeling for anything or anyone but his money and the land. Brandon deWilde costars as the adolescent admirer of what he perceives to initially be Hud's overt masculinity. However, that perspective will change. Patricia Neal is in it too - her usual savvy, world-wise self.
TRANSFER: A bit disappointing. Though the picture is free of many age related artifacts and digital artifacts, the overall presentation is somewhat soft, with blooming around the edges that renders parts of the B&W picture in various rainbow hues - even with the color on one's television set turned to zero. Also, in one scene in particular, edge enhancement is glaringly obvious. Finally, the overall presentation tends to be just a little too soft for the vintage of the camera negative. Close ups and medium shots look fairly sharp but long shots tend to appear blurry at times. The gray scale is reasonably balanced, though during scenes shot at night, fine detail tends to get lost in the shadows. The audio is remastered and well balanced.
EXTRAS: NONE!!! Oh, no - Paramount! Not back to your penny-pinching ways!!!
BOTTOM LINE: An average transfer of a great film. Still worth the money!

Wow! Patricia Neal has never been sexier than in this film...and the best thing about it is, she ain't even tryin'! And she's dressed in housekeeper clothes to boot! She has this underlying passion that is never seen in the movie, but she keeps dropping hints throughout. Newman is wonderfully contemptable as Hud, Brandon DeWilde is his convincingly naive and inexperienced nephew and Melvyn Douglas is terrific as the head of the clan. Sometimes you don't know whether to root for Hud or wish he'd get the crap beat out of him.....the mark of an excellent acting job by Newman. It has the feel of "The Last Picture Show" and "Dallas" but is far superior to both. Highest recommendation for Paul Newman fans.

I cannot say enough about this movie. Paul Newman ("HUD") is completely convincing as the narcissistic son of an aging cattle rancher (Melvyn Douglas) who takes all he can get from life, leaving only destruction in his wake. Perhaps the reason Newman is so convincing is that, despite HUD's reprehensible character, one is drawn in to the allure of his personality, just like those on the screen that are used and tossed aside. Although we may not be "rooting" for HUD, we become more than a little sympathetic to his cause, probably a reflection of our own selfish natures. And it is a tribute to Newman's acting ability to draw out these conflicting emotions from the audience.

The supporting cast in this "character study" is nothing short of superb. Melvyn Douglas as the pious and self-righteous father is the perfect mirror image of HUD. Patricia Neal (who won an Oscar for Best Supporting Actress) is simply outstanding as the earthy, motherly yet somewhat-still-sexy housekeeper who both HUD and Lon (Brandon De Wilde) have sexual yearnings for, but for very different reasons. James Wong Howe's cinematography is top notch and his choice of black and white film really makes this movie work - far more than it would have in color.

There are also other "small touches" that add so much to the film. When HUD picks up Patricia Neal by the side of the road with her groceries, she offers him a Fig Newton. The same effect was used again when Lon is discussing the book "From Here To Eternity" with the local drugstore owner. Not a just a "cookie" or a "book", but real pieces of "Americana" the help set the mood, tone and timeframe of the film.

There is one last item I think is worth commenting on, because it is often overlooked. That is the seeming genuine affection that HUD has for his nephew (Lon). Yes, HUD is a scoundrel out for himself first and foremost, but there are many scenes where HUD appears almost human (particularly when HUD finally tells Lon how his father died), and those scenes are always with Lon. This is why, if the movie has any flaw in my mind, it is the ending where Lon is leaving the ranch and HUD is left all alone. I get the sensation that HUD is practically begging Lon to stay, though outwardly this isn't the case at all and HUD tries to act aloof and non-caring, shouting one of his famous lines "This world is so full of ..., a man's gonna get into it sooner or later whether he's careful or not." Whether my reaction was the one Martin Ritt had in mind I am not sure, but the last scene always leaves me unsettled, at least in terms of HUD's humanity.

Regardless, a first class film in every way. There are very few this good.

First, a disclaimer: it's really tough to watch a movie, let alone review it, objectively when you've just finished reading the excellent book upon which it was based. Upon reflection, this was actually probably a pretty good movie, for what it was, and I do agree that Paul Newman deserved his Oscar nomination. It's just that the book was so real, so convincing in its portrayal of its characters, that I couldn't help feeling that the movie was, well, wrong. Though I know the book was a fiction, I couldn't help feeling that the movie was betraying the truth that the book presented. As the scenes in the movie pieced together the highlights, I kept having two thoughts: "wow, this is going by too fast; are we there already?" and "but that's not how it happened!" At any rate, I'd like my review to be something a little more meaningful than just the self-important cliche, "The book was way better." Whether or not I will succeed is up to you. [end disclaimer]

The book was 550 pages long and rich in description, so I don't fault the movie for trimming story lines and collapsing others (e.g., Bruce Willis's character was a composite of at least three distinct characters in the book). In fact, this technique works surprisingly well for much of the movie; the story feels a little flatter, but the meaning is left pretty much intact. And I suppose that the filmmaker can be forgiven for softening up the title character and sentimentalizing him a bit in the very way that I pointed out the book did not. This is a Hollywood movie, after all.

I do find fault, though, with distorting the essential truth. Minor variations hurt the movie a bit throughout, but in one particular instance, near the end, a major breach significantly changes the whole point. I won't give it away, because it might ruin both the book and the movie (hint: it involves Melanie Griffith's affections), but it gives Sully more credit than he deserves, takes away something important from his son's character, and generally turns a fairly dark personality study into a warm, snuggly, feel-good moment. Eech.

As I expected I would, I have focused on the negative aspects of the movie, but, as I mentioned in my disclaimer, I think it was probably a good movie for what it was and I would still recommend it to people who have no intention of reading the book. The acting of the entire cast is strong (even Melanie Griffith and Bruce Willis are bearable), with especially high marks for the always-incredible Philip Seymour Hoffman, Jessica Tandy (in her final role), and Paul Newman, who is particularly good in the title role. And of course it had an excellent story to work with, which was, for the most part, told quite well. I guess that's the problem with reading books. They ruin otherwise perfectly good movies.

This review refers to the Paramount DVD edition of "Nobody's Fool".....

The irresistable Paul Newman, in a role that was tailor made for him and the always wonderful Jessica Tandy(in her final feature film performance) will steal your heart(as if they haven't already)in the life affirming dramadey, "Nobody's Fool". The rest of the cast are no slouches either. It includes Bruce Willis, Melanie Griffith,Josef Summer, Phillip Seymour Hoffman,Dylan Walsh and a performance by youngster Alexander Goodwin that will have you in awe of his extraordinary talent.

Wintry upstate New York is the setting for the story. "Sully"(Newman) is an aging down on his luck, jack of all trades(master of none),regular guy. He just can't seem to get a leg up... figuratively and literally(arthritis is getting the best of him).His life seems to be in a shambles. Abandoning his wife and son years earlier, still trying to eek out a living for himself,constantly seeming to have minor run-ins with the local police are his day to day exsistence. Yet with all these dark clouds over his head,there doesn't seem to be one person in this little community who could get along without him. When his now adult son and young grandson come back into his life, he now has a chance to do something right.It's a heartwarming and funny view and Newman will charm you right out of your socks!

The transfer to DVD is excellent. It is presented in widescreen(you won't miss a bit of the scenery),with a nice crisp, clear picture and beautiful colors. For sound you have a choice of Dolby Digital 5.1, or stereo surround and has English subtitles for those that may need them. I had a little technical problem with my copy. I could not seem to delete the subtitles no matter what I did. Although this is something that didn't bother me too much, if this happens it may be annoying if you are not used to watching with subtitles.I'm pretty sure though that this is probably a fluke and my copy only because I haven't seen any other complaints on this issue.Maybe the next reviewer can mention whether or not their copy was also affected.Other than that, it's a great view. There are no special features,but a film that will leave you smiling the rest of the day(that was bonus enough for me).

Directed and written for the screen by Robert Benton("Kramer vs Kramer"/"Places In The Heart"), with engaging music by Howard Shore, this captivating film is a must have for Newman fans.His superb performance garnered him Best Actor awards from the Berlin Int. Film Fest.(Silver Bear), the National Society of Film Critics and the New York Film Critics as well. It's a feel good story that's great to watch anytine life throws you a little curve! It is rated "R" for language and some nudity.

Definitive, Delightful, Delicious!
Thanx and enjoy....Laurie

As a resident of the Hudson Valley in N.Y., I got to watch this movie being made, from start to finish, having done some minor work for the production company along the way.I also had the distinct pleasure to meet and converse with all the major players including Mr. Newman, Bruce Willis, Melanie Griffith, and Jessica Tandy.(May She Rest In Peace) What a great cast, led and directed by a great Director, (Robert Benton) and production staff. (Scott Rudin&Michael Houseman)As you watch the movie being made you realize just how much time and energy goes into creating such a wonderfully crafted masterpiece. These actors and actresses, with their combined talents, made it look easy in the final product. But having been there, seen that, I know now, and truly appreciate the depth of commitment that not only a Fantastic actor like Paul Newman can project, but actors in general. This film truly deserved an Oscar, not only as best picture, but Mr. Newman, the true talent that he is, deserved for best Actor, and he was robbed of that distinction. I highly reccomend this film to any true conniseur of cinematic masterpieces, and true fans of the Greatest "Character Actor" / "Leading Man" of all time, MR.PAUL NEWMAN. Dear Sir, keep up the good work and God Bless the talent you possess.

And I really mean it. They used to show this film often on the Superstation. When I was twelve, I watched it; the next time it came on, I taped it, and watched it probably more than 50 times over the next few years (I didn't know for a long time that the TV version has several scenes cut out for length, so getting it on video was a new revelation). What is it about "Cool Hand Luke" that is so moving? Well, it starts with Paul Newman's performance. Lucas Jackson is one of the most psychologically complex characters in the history of cinema, and Newman, criminally denied the Oscar for this film, makes him seem larger-than-life without saying much. Everything that comes out of his mouth is a revelation. The Christ allusions, which are fittingly done, heighten the sense of injustice that Luke is being slowly crucified by the lawmen, simply because he won't bend to their rules. On the surface, Luke seems self-destructive and ignorant, but in repeated watchings of the film, it becomes apparent that Luke is answering to a call that is bigger than the prison, bigger than the bosses, bigger than the law itself. I could go on and on about the myriad other ways in which this film is perfect, but why bother? I only get 1,000 words. Suffice it to say that this is the movie that makes George Kennedy, of all people, seem noble. YOU MUST SEE THIS FILM. The only flaw: I grew up in Georgia, and I can assure you that it is not filmed where it is set. Looks more like the Central Valley of California to me.

I love this movie.

I've watched it many times over and am always discovering more depth to the script and screenplay.

Paul Newman plays the title character with the cool, easy going grace the part calls for. Cool Hand Luke is content with passing time, just as long as he is given a little elbow room for his independent nature. But he is given no room to manuever by The Man. Just like in "One Flew Over the Cookoos Nest", our hero is bigger and better than their antagonist, except for the fact that time is one the side of the jailor. As in his brutal fight with Dragline (George Kennedy), Luke is fighting with a "hand full of nuthin". His fighting philosophy is like The Clash lyric, "We're gonna fight, till you lose".

Luke can take all The Man gives and more, until tragically, his mother dies. The prison warden decides that he must lock Luke down, just when Luke is feeling the most claustrophobic; He needs the opposite.

Luke will not bend to the guards intimidation, and the guards will not give Luke the elbow room he so desperately needs. Especially because he is the viewed as an near-deity by the other prisoners.

There are many illusions to Luke as Christ. Is Luke an unwilling Christ figure? I don't know. He is to the prisoners. He is viewed as a mythic hero by the other prisoners. He is the best eater, the best worker in the Bull-Gang, the best musician, the best poker player, the best escapee. But his disciples abandon him in this time of greatest need. He is looking for answers from The Man (and I don't mean Boss Godfrey), but gets no reply. Watch for the symbolism throughout.

There is also much to enjoy for the casual viewer. This film has many classic scenes and lines. "I ken eat 50 ehhgs", Lucille at the car wash (Oh Baby!), "What we got here is failure to communicate", and "Saying its your job don't make it right, Boss". Paul Newman is easy on the eyes. And the supporting cast, lead by chief disciple George Kennedy, is superb. I also enjoyed the Christian music throughout.

"What we have here is a failure to communicate." Whoever has seen this film surely remembers that line - and the scene immediately following it. The opening scene is a winner, too: Newman, drunk and still drinking, walks down a street with a pipe cutter, whacking the heads off parking meters. Right there, he's put the audience 100% on his side. Brilliant. So he goes to jail, and the film pits the individual against the institution in a classic power struggle, the outcome of which is rarely in doubt. Oh, and don't forget the hardboiled egg eating contest, and the size and drum-like tenseness of Newman's stomach...
Cool Hand Luke made an icon of Paul Newman and cemented his place in history as an actor who could play a loner, a stubborn rebel. He's played in many times since, always well, but never better than in this movie. Just watch it. Invite your teenagers to watch it with you. They might learn a thing or two about Life.

And I really mean it. They used to show this film often on the Superstation. When I was twelve, I watched it; the next time it came on, I taped it, and watched it probably more than 50 times over the next few years (I didn't know for a long time that the TV version has several scenes cut out for length, so getting it on video was a new revelation). What is it about "Cool Hand Luke" that is so moving? Well, it starts with Paul Newman's performance. Lucas Jackson is one of the most psychologically complex characters in the history of cinema, and Newman, criminally denied the Oscar for this film, makes him seem larger-than-life without saying much. Everything that comes out of his mouth is a revelation. The Christ allusions, which are fittingly done, heighten the sense of injustice that Luke is being slowly crucified by the lawmen, simply because he won't bend to their rules. On the surface, Luke seems self-destructive and ignorant, but in repeated watchings of the film, it becomes apparent that Luke is answering to a call that is bigger than the prison, bigger than the bosses, bigger than the law itself. I could go on and on about the myriad other ways in which this film is perfect, but why bother? I only get 1,000 words. Suffice it to say that this is the movie that makes George Kennedy, of all people, seem noble. YOU MUST SEE THIS FILM. The only flaw: I grew up in Georgia, and I can assure you that it is not filmed where it is set. Looks more like the Central Valley of California to me.

I love this movie.

I've watched it many times over and am always discovering more depth to the script and screenplay.

Paul Newman plays the title character with the cool, easy going grace the part calls for. Cool Hand Luke is content with passing time, just as long as he is given a little elbow room for his independent nature. But he is given no room to manuever by The Man. Just like in "One Flew Over the Cookoos Nest", our hero is bigger and better than their antagonist, except for the fact that time is one the side of the jailor. As in his brutal fight with Dragline (George Kennedy), Luke is fighting with a "hand full of nuthin". His fighting philosophy is like The Clash lyric, "We're gonna fight, till you lose".

Luke can take all The Man gives and more, until tragically, his mother dies. The prison warden decides that he must lock Luke down, just when Luke is feeling the most claustrophobic; He needs the opposite.

Luke will not bend to the guards intimidation, and the guards will not give Luke the elbow room he so desperately needs. Especially because he is the viewed as an near-deity by the other prisoners.

There are many illusions to Luke as Christ. Is Luke an unwilling Christ figure? I don't know. He is to the prisoners. He is viewed as a mythic hero by the other prisoners. He is the best eater, the best worker in the Bull-Gang, the best musician, the best poker player, the best escapee. But his disciples abandon him in this time of greatest need. He is looking for answers from The Man (and I don't mean Boss Godfrey), but gets no reply. Watch for the symbolism throughout.

There is also much to enjoy for the casual viewer. This film has many classic scenes and lines. "I ken eat 50 ehhgs", Lucille at the car wash (Oh Baby!), "What we got here is failure to communicate", and "Saying its your job don't make it right, Boss". Paul Newman is easy on the eyes. And the supporting cast, lead by chief disciple George Kennedy, is superb. I also enjoyed the Christian music throughout.

"What we have here is a failure to communicate." Whoever has seen this film surely remembers that line - and the scene immediately following it. The opening scene is a winner, too: Newman, drunk and still drinking, walks down a street with a pipe cutter, whacking the heads off parking meters. Right there, he's put the audience 100% on his side. Brilliant. So he goes to jail, and the film pits the individual against the institution in a classic power struggle, the outcome of which is rarely in doubt. Oh, and don't forget the hardboiled egg eating contest, and the size and drum-like tenseness of Newman's stomach...
Cool Hand Luke made an icon of Paul Newman and cemented his place in history as an actor who could play a loner, a stubborn rebel. He's played in many times since, always well, but never better than in this movie. Just watch it. Invite your teenagers to watch it with you. They might learn a thing or two about Life.

And I really mean it. They used to show this film often on the Superstation. When I was twelve, I watched it; the next time it came on, I taped it, and watched it probably more than 50 times over the next few years (I didn't know for a long time that the TV version has several scenes cut out for length, so getting it on video was a new revelation). What is it about "Cool Hand Luke" that is so moving? Well, it starts with Paul Newman's performance. Lucas Jackson is one of the most psychologically complex characters in the history of cinema, and Newman, criminally denied the Oscar for this film, makes him seem larger-than-life without saying much. Everything that comes out of his mouth is a revelation. The Christ allusions, which are fittingly done, heighten the sense of injustice that Luke is being slowly crucified by the lawmen, simply because he won't bend to their rules. On the surface, Luke seems self-destructive and ignorant, but in repeated watchings of the film, it becomes apparent that Luke is answering to a call that is bigger than the prison, bigger than the bosses, bigger than the law itself. I could go on and on about the myriad other ways in which this film is perfect, but why bother? I only get 1,000 words. Suffice it to say that this is the movie that makes George Kennedy, of all people, seem noble. YOU MUST SEE THIS FILM. The only flaw: I grew up in Georgia, and I can assure you that it is not filmed where it is set. Looks more like the Central Valley of California to me.

I love this movie.

I've watched it many times over and am always discovering more depth to the script and screenplay.

Paul Newman plays the title character with the cool, easy going grace the part calls for. Cool Hand Luke is content with passing time, just as long as he is given a little elbow room for his independent nature. But he is given no room to manuever by The Man. Just like in "One Flew Over the Cookoos Nest", our hero is bigger and better than their antagonist, except for the fact that time is one the side of the jailor. As in his brutal fight with Dragline (George Kennedy), Luke is fighting with a "hand full of nuthin". His fighting philosophy is like The Clash lyric, "We're gonna fight, till you lose".

Luke can take all The Man gives and more, until tragically, his mother dies. The prison warden decides that he must lock Luke down, just when Luke is feeling the most claustrophobic; He needs the opposite.

Luke will not bend to the guards intimidation, and the guards will not give Luke the elbow room he so desperately needs. Especially because he is the viewed as an near-deity by the other prisoners.

There are many illusions to Luke as Christ. Is Luke an unwilling Christ figure? I don't know. He is to the prisoners. He is viewed as a mythic hero by the other prisoners. He is the best eater, the best worker in the Bull-Gang, the best musician, the best poker player, the best escapee. But his disciples abandon him in this time of greatest need. He is looking for answers from The Man (and I don't mean Boss Godfrey), but gets no reply. Watch for the symbolism throughout.

There is also much to enjoy for the casual viewer. This film has many classic scenes and lines. "I ken eat 50 ehhgs", Lucille at the car wash (Oh Baby!), "What we got here is failure to communicate", and "Saying its your job don't make it right, Boss". Paul Newman is easy on the eyes. And the supporting cast, lead by chief disciple George Kennedy, is superb. I also enjoyed the Christian music throughout.

"What we have here is a failure to communicate." Whoever has seen this film surely remembers that line - and the scene immediately following it. The opening scene is a winner, too: Newman, drunk and still drinking, walks down a street with a pipe cutter, whacking the heads off parking meters. Right there, he's put the audience 100% on his side. Brilliant. So he goes to jail, and the film pits the individual against the institution in a classic power struggle, the outcome of which is rarely in doubt. Oh, and don't forget the hardboiled egg eating contest, and the size and drum-like tenseness of Newman's stomach...
Cool Hand Luke made an icon of Paul Newman and cemented his place in history as an actor who could play a loner, a stubborn rebel. He's played in many times since, always well, but never better than in this movie. Just watch it. Invite your teenagers to watch it with you. They might learn a thing or two about Life.

Even if pool is not your game,or perhaps your not a Paul Newman fan(huh?)this is a movie to watch or rent if your stuck on something to view.Paul Newman is electric as Fast Eddie Felson hustler extroirdinaire.Jackie Gleason plays the fictional Minnesota Fats.Yes fictional if you truly know your pool history.Fast Eddie travels from town to town hustling enough money on his way to Ames, Iowa to play the legendary Fatman.On his way Eddie learns about life,love and the evil that the pool world of the era has in store.A must watch. If you keep your eyes open you will see the one and only Willie Mosconi who worked behind the scenes(and also played a small role in the movie) as technical advisor.In the movie as Bert Gordon is George C. Scott." I'm a business man kid"This movie will be worth your time.

It is a real shame that not one of the actors, nominated for their work in THE HUSTLER, took home the Oscar. Now, a true classic in every sense of the word, the film is still one of the coolest motion pictures ever made. Originally released in 1961, the film is flawless. "Fast" Eddie Felson (Paul Newman) is an arrogant pool hustler, who seems unbeatable, that is until he meets his match. When his desire and ambition for perfection lead him to challenge legendary pool king, "Minnesota Fats" (Jackie Gleason), things heat as Felson may have bitten off more than he can chew. He risks everything good in his life for a shot at glory. Piper Laurie as Sarah Packard, has great chemistry with Newman, and George C. Scott as Bert Gordon is tops too.

Based on the book by Walter S. Tevis, the movie was directed by Robert Rossen, and shows off his real talent as a filmmaker. Desperate to put his "Ralph Kramden" character behind him, Gleason delivers a fine dramatic performance, that is sure to surprise you, if you only know him from "The Honeymooners". The pool room action is put together very well. The fact that the film was shot in black and white, only enhanced the action on screen, and makes it give off an almost cooler aura.

It's great to finally see the movie on DVD. The special features are great. The most interesting of which, is the "picture-in picture" commentary, that explains how all of the trick shots were done in the film. This innovative feature is "way cool" The commentary track is pretty good too. However, I enjoyed the retrospective documentary, "the inside story", a bit more. It was also neat to see the vintage theatrical trailer.

The DVD is Highly Recommended and is a must have in anyone's movie collection

Jackie Gleason usually plays Jackie Gleason, but he soars far above his own image to become the character he plays in The Hustler, Minnesota Fats, and it's probably the performance of his lifetime. Newman plays Fast Eddie, a swaggering newcomer to the poolroom hustling game. After losing everything (money, status, self-esteem), he meets a woman also down on her luck and begins to rise again - but whap! He comes under the influence of a ruthless promoter who heartlessly uses Fast Eddie to his own ends.
A beautiful character study of a film The Hustler elicited stellar performances from everyone in the cast. Watch this first, and then the next night, watch The Color of Money, which is like a sequel in which Tom Cruise is the upstart and Newman is the older wiser father figure.

Even if pool is not your game,or perhaps your not a Paul Newman fan(huh?)this is a movie to watch or rent if your stuck on something to view.Paul Newman is electric as Fast Eddie Felson hustler extroirdinaire.Jackie Gleason plays the fictional Minnesota Fats.Yes fictional if you truly know your pool history.Fast Eddie travels from town to town hustling enough money on his way to Ames, Iowa to play the legendary Fatman.On his way Eddie learns about life,love and the evil that the pool world of the era has in store.A must watch. If you keep your eyes open you will see the one and only Willie Mosconi who worked behind the scenes(and also played a small role in the movie) as technical advisor.In the movie as Bert Gordon is George C. Scott." I'm a business man kid"This movie will be worth your time.

It is a real shame that not one of the actors, nominated for their work in THE HUSTLER, took home the Oscar. Now, a true classic in every sense of the word, the film is still one of the coolest motion pictures ever made. Originally released in 1961, the film is flawless. "Fast" Eddie Felson (Paul Newman) is an arrogant pool hustler, who seems unbeatable, that is until he meets his match. When his desire and ambition for perfection lead him to challenge legendary pool king, "Minnesota Fats" (Jackie Gleason), things heat as Felson may have bitten off more than he can chew. He risks everything good in his life for a shot at glory. Piper Laurie as Sarah Packard, has great chemistry with Newman, and George C. Scott as Bert Gordon is tops too.

Based on the book by Walter S. Tevis, the movie was directed by Robert Rossen, and shows off his real talent as a filmmaker. Desperate to put his "Ralph Kramden" character behind him, Gleason delivers a fine dramatic performance, that is sure to surprise you, if you only know him from "The Honeymooners". The pool room action is put together very well. The fact that the film was shot in black and white, only enhanced the action on screen, and makes it give off an almost cooler aura.

It's great to finally see the movie on DVD. The special features are great. The most interesting of which, is the "picture-in picture" commentary, that explains how all of the trick shots were done in the film. This innovative feature is "way cool" The commentary track is pretty good too. However, I enjoyed the retrospective documentary, "the inside story", a bit more. It was also neat to see the vintage theatrical trailer.

The DVD is Highly Recommended and is a must have in anyone's movie collection

Jackie Gleason usually plays Jackie Gleason, but he soars far above his own image to become the character he plays in The Hustler, Minnesota Fats, and it's probably the performance of his lifetime. Newman plays Fast Eddie, a swaggering newcomer to the poolroom hustling game. After losing everything (money, status, self-esteem), he meets a woman also down on her luck and begins to rise again - but whap! He comes under the influence of a ruthless promoter who heartlessly uses Fast Eddie to his own ends.
A beautiful character study of a film The Hustler elicited stellar performances from everyone in the cast. Watch this first, and then the next night, watch The Color of Money, which is like a sequel in which Tom Cruise is the upstart and Newman is the older wiser father figure.

I saw this film with my mother when it premiered at Radio City Music Hall. It stuck with me for over twenty years. The story may be predictable, but, it is a classic tale of love, power and manipulation
This is a great movie for a cold or rainy afternoon, curled up on the couch. Grab a box of tissues and prepare to get teary. The theme song will haunt you for days. Buy it and enjoy.

I remembering seeing this movie, years ago. I was so impressed with the originality that was created in this love story. I remembered the name, and when I saw it in the video store, I was so happy. I immediately rented it.

There is no comparison of this to Love Story, or even Gone with the Wind. This movie is far better. It keeps you cheering for her lover, her husband to find her. You can not help but feeling the mother in law needs to allow her son a life. She has the "you are not good enough for my son, blues." All the actors and actresses were so great. I recommend this to everyone.

Not since the 5 star hanky movies from Lana Turner will you see such a romantic cry-you-eyes-out movie. This movie is GREAT and one of my all time favorites. This movie proves that if you are ment to be together,,,,,your ment to be together.The acting is wonderful, costumes great and the music score is unforgetable. The opening and closing scene standing by the rock has got to be the most romantic scene ever filmed. It is also the most gut-grabbing. I'm a guy and i still can't help getting all teary eyed especially during those scenes. Just wish this was on DVD and stereo sound. A great film for your collection.