Brick, an alcoholic ex-football player, drinks his days away and resists the affections of his wife, Maggie. His reunion with his father, Big Daddy, who is dying of cancer, jogs a host of memories and revelations for both father and son.
In the Salinas Valley, in and around World War I, Cal Trask feels he must compete against overwhelming odds with his brother Aron for the love of their father Adam. Cal is frustrated at ... See full summary »
In 1930s New Orleans, the Cincinnati Kid, a young stud poker player who travels from one big game to the next, stopping along the way up with various girls, is pitted against the legendary champion card-sharp Lancey Howard in a high-stakes poker game. Written by
When the Kid is playing a card trick with Christian's father, the deck changes positions between camera angles. When the Kid is showing the trick to the father, he is wearing a coat. When the mother comes in to see the trick, the jacket is gone and nowhere to be found. See more »
[thinking on what he said to Lady Fingers]
No, Lady; he hasn't gotten to me. Not yet; but he might, he just might.
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"There's always a kid", says Edward G. Robinson's character, "the man", in this film, and I guess there's always a man as well. In fact, the Cincinatti Kid is just about the least kid-like kid you could imagine, as Steve MacQueen was little more than ten years away from his death-bed when he played the part. I don't know what it is I like about Steve MacQueen: either his acting is very subtle indeed, or it's virtually non-existent, but there's something about his strong, silent, only reluctantly violent heroes that is innately more appealing than, say, the "make my day, punk" attitude of Clint Eastwood. Robinson's suave gambler is also an appealing figure in this movie. There's also some good use of traditional New Orleans jazz (but also some nasty, obvious strings on the soundtrack as well, reminding one of the equally ugly music in director Jewision's 'In the Heat of the Night', made at around the same time).
There are obvious parallels between this film and 'the Hustler', but while more modern, this film is also simpler in construction: there are some side-plots but ultimately, the characterisation (though strong) is static and it all comes down to the cards on the table. Someone wins, someone loses; but that's always the way. This isn't the deepest film you'll ever see, but it remains an immensely watchable one.
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