Sydney Prosser: Amy Adams
Richie DeMaso: Bradley Cooper
Carmine Polito: Jeremy Renner
Rosalyn Rosenfeld: Jennifer Lawrence
Stoddard Thorsen: Louis C.K.
Columbia Pictures presents a
film directed by David O. Russell. Written by Eric Warren Singer and David O.
Russell. Running time: 138 min. Rated R (for pervasive language, some sexual
content and brief violence).
David O. Russell’s latest
film, “American Hustle”, is one of those 70s costume crime pieces that tells a
somewhat true story about a New York grifter couple who graduate from small
time embezzlement to the big leagues when an FBI ladder climber catches them
with their hand in the cookie jar. It has all the glitz and hairpieces expected
from the genre. It’s well made and contains some wonderful performances from
its star-studded cast. However, it lacks some of the zeal for which it strives.
It hits all the right notes, but never finds much of a purpose for itself
beyond being an excuse to pull out some bad wigs and the wide collars. Told
from several points of view, it feels like Russell is trying to make his own
“GoodFellas”, but he lacks some of Scorsese’s kinetic gifts.
It tells the story of Irving
Rosenfeld, a balding, pot bellied con man, who has taken his family dry
cleaning business and spun it as a front for some less legitimate lines of
retail. He runs loan schemes, and sells stolen and counterfeit artwork. When he
meets Sydney Prosser at a Long Island pool party, he’s met the woman who was
made for him. Sydney doesn’t go by her real name anymore, but rather has
recreated herself as a British aristocrat named Lady Edith Greensly. Although
she notes Rosenfeld’s lack of physical attractiveness, she is drawn to him both
intellectually and sexually by pure spirit of heart.
Agent Richie DeMaso, who has
dreams of catching the big fish, nabs the two in an FBI sting. DeMaso goes
around his boss—Louis C.K. in the most surprising performance of the film—to
rope in some politicians with Irving’s confidence skills, including the Mayor
of Camden, New Jersey, Carmine Polito. Politio is essentially a good man trying
to grow New Jersey’s economy by reopening the Atlantic City casinos. DeMaso’s
higher stakes make Rosenfeld uncomfortable, especially when some big name
mobsters get involved in the casino scheme. Robert DeNiro fittingly appears unbilled
as Meyer Lansky’s second-in-command, Victor Tellegio.
The movie is structured very
much like “GoodFellas”, starting with a scene from the middle of the story and
then flashing back to explain who these people are and how they arrived in
their situations. Rosenfeld and Prosser tell their stories, each providing
voiceover narration. Prosser’s narration seems unnecessary, as the whole story
could be told from Rosenfeld’s point of view. I also wonder how much the broken
timeline structure helps the story. It makes for a confusing start. While it’s
kind of a con movie tradition to make the con confusing to the audience, it
seems Rosenfeld’s cons are based on making his clients think they know exactly
what’s going on only to find the rug pulled out from under them later.
Christian Bale and Amy Adams
are solid leads as Rosenfeld and Prosser. Bale has this amazing ability to act
through his frumpy appearance and convey his appeal to Prosser. Russell perhaps
makes too much of Rosenfeld’s vanity too early. It would draw less attention to
the make-up work if he’d held off until later in the story. Of course, Rosenfeld
and Prosser’s relationship is complicated by the fact that Rosenfeld is already
married. Although, there is no love in their arrangement, Rosenfeld has come to
love his wife’s son, whom he has adopted.
Jennifer Lawrence plays the
wife as a wild card, who threatens to destroy everything once the stakes have
risen beyond Rosenfeld’s control. This is because of DeMaso’s near psychotic
drive to get the biggest names he can despite the fact that he is so far out of
his depth he’s doomed to failure. Bradley Cooper plays DeMaso as if he’s seen
too many cop movies and thinks it’s all as easy as it is in Hollywood. He’s
like a child with a broken toy when things don’t work out his way.
“American Hustle” is a good
movie. The production design—from the moment the company logos run—immerses the
audience in the time period of the late 70s. Despite its confusing beginning,
the con is clear in the end and the fates of the characters are satisfying.
Perhaps a bit too satisfying, as if what they’ve pulled off was a little too
easy, especially with the stakes involved. At one point it seems there’s no way
out for anyone that doesn’t involve some dirt, a shovel, and a 10 by 20 foot
plot of land. Their solution seems more like child’s play than a real criminal
act.
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