Hustle (1975)

R  |   |  Crime, Drama, Mystery  |  25 December 1975 (USA)
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Phil Gaines is a bitter, cynical cop who investigates the case of a dead stripper/porno actress found on the beach. Gaines is experiencing a troubled relationship with a hooker, and things ... See full summary »



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Cast overview, first billed only:
Marty Hollinger
Sgt. Louis Belgrave
Paula Hollinger
Leo Sellers
Peggy Summers
Herbie Dalitz
Bus Driver
Colleen Brennan ...
Gloria Hollinger (as Sharon Kelly)
Chuck Hayward ...
Morgue Attendant
David Estridge ...
Peter Brandon ...
Jerry Bellamy


Phil Gaines is a bitter, cynical cop who investigates the case of a dead stripper/porno actress found on the beach. Gaines is experiencing a troubled relationship with a hooker, and things don't get any better when the dead girl's father launches his own investigation. Written by Kristian Krokfoss <>

Plot Summary | Add Synopsis


She's the call girl. He's the cop. They both take their jobs seriously.


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Parents Guide:





Release Date:

25 December 1975 (USA)  »

Also Known As:

All the Other Angels  »

Filming Locations:


Company Credits

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Technical Specs


Sound Mix:



Aspect Ratio:

1.85 : 1
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Did You Know?


This was the second and final movie that star actor Burt Reynolds made with director Robert Aldrich. The Longest Yard (1974) was the first. Both movies also starred Eddie Albert. The earlier film was a box-office hit whereas this movie was a box-office flop. See more »


Lt. Phil Gaines: Don't you know where you live, Marty? Can't you smell the bananas? You know what country you live in? You live in Guatamala with color television.
See more »


Referenced in Starsky and Hutch: Omaha Tiger (1976) See more »


Mission Impossible
Music by Lalo Schifrin
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User Reviews

The good, the bad and the indifferent
18 January 2009 | by (London, England) – See all my reviews

At times it's hard to know quite what to make of Hustle. There's certainly a good film in there, but there's also a bad one as well and Robert Aldrich doesn't make the two into something entirely cohesive. Joseph Biroc's photography is somewhat schizophrenic too. The police station interiors and night shots look great with a classic neo-noir look to them with their deep blacks, but some of the daytime work looks like painfully artificial TV movie stuff. Some of the editing is awkward and some of the writing so on the nose it's like someone decided to film 'My First Cop Movie' while the references to Moby Dick (the film, not the book) come over as Symbolism 101, but then it delivers something good enough for you to want to file away and use yourself at a later date.

Where it scores is in its portrait of a job and a place where you can all too easily lose all sense of yourself, a side of Los Angeles the film captures remarkably well (there's a reason so many Angelinos move to different States or even countries). Burt Reynolds' cop is so desensitised to his job that he obliviously talks to the morgue staff about football scores while escorting a father to see his daughter's dead body, behaviour no-one finds shocking in a place where people only count if they're 'somebody.' In many ways the most impressive thing about it is its determination to avoid becoming a murder mystery: no-one, least of all Reynolds, has any interest in investigating a murder, and neither does the film. Instead it's more interested in the emotional fallout from the death and how it affects (or rather fails to affect) those around the death. It all ends in violence, naturally, albeit with the caveat that you end up paying for the sins you didn't commit rather than the ones you did.

7 of 11 people found this review helpful.  Was this review helpful to you?

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