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The Cooler (2003)

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In an old school Las Vegas casino, its top gambling jinx breaks his curse when he falls in love, much to his boss' consternation.

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Nominated for 1 Oscar. Another 9 wins & 25 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Mikey
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Buddy Stafford
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Charlene
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Johnny Cappella
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Highway Officer (as MC Gainey)
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Lou
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Tony
Richard Israel ...
Marty Goldfarb
Timothy Landfield ...
The Player
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Storyline

The unluckiest man in Vegas - a guy whose bad luck is contagious - is used by the last of the old time mob run casinos to kill high rollers' action. That is, until he falls in love with a cocktail waitress and gets "lady luck," which throws the situation into reverse. Things turn nasty when the casino director tries to break up the romance. Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

Love ...you have to play to win See more »


Motion Picture Rating (MPAA)

Rated R for strong sexuality, violence, language and some drug use | See all certifications »

Parents Guide:

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Details

Country:

Language:

Release Date:

16 January 2004 (USA)  »

Also Known As:

Golpe de suerte  »

Box Office

Budget:

$3,200,000 (estimated)

Opening Weekend:

$128,973 (USA) (28 November 2003)

Gross:

$8,243,880 (USA) (19 March 2004)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The Cooler (2003) contains at least one tribute to the films of Alfred Hitchcock. When Shelley is being shown the new jackpot machine during Bernie's "hot" scene, the demonstrator tells him he calls it Marnie, "y'know, 'cos she's one frigid broad!" This refers to Hitchcock's Marnie (1964), in which Tippi Hedren plays a woman who is very sexually reticent. In addition, the film's trademark extreme worm's-eye-view shots from beneath card tables (of croupiers pushing casino chips into extreme close-up) and floors (of the soles of Bernie's shoes) may be homages to The Lodger (1927), in which Ivor Novello is shot via a similar technique to increase tension. See more »

Goofs

During Bernie's first night with Natalie, his tie changes from looser to tighter. See more »

Quotes

[first lines]
Casino employee: Where's Bernie, they're killing us. Yeah, we need him right away.
See more »

Crazy Credits

Maria Bello's face is reflected on the side of the "Lady Luck" hotel. See more »

Connections

Referenced in Dinner for Five: Episode #3.8 (2004) See more »

Soundtracks

Almost Like Being in Love
(1947)
Music by Frederick Loewe
Lyrics by Alan Jay Lerner (as Allan Lerner)
Performed by Nick D'Egidio
Courtesy of TSR Records, Ltd.
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User Reviews

outstanding performances in a flawed but good film
21 August 2004 | by (United States) – See all my reviews

William H. Macy, Alec Baldwin and Maria Bello give unforgettable performances in 'The Cooler,' a moody tale of high stakes gambling on the Vegas Strip. Baldwin plays Shelley Kaplow, a casino operator steeped in nostalgia who hates what has become of his beloved city and prefers to do business the old-fashioned way (i.e. breaking a leg or two or even rubbing a person out if the situation calls for it). Shelley is also so intensely superstitious that he's hired a 'cooler' to rein in any gambler who starts winning a bit too much against the house. Macy is the 'cooler,' a man named Bernie who's been a loser all his life. It is Shelley's contention that all Bernie has to do is stand next to a gambler on a hot streak and that player's luck will immediately turn cold. And it works. Bernie is like a dark cloud roaming the floor of the casino, bringing despair and depression wherever he goes. The problem for Bernie is that, although he makes a living doing this, he has virtually no self-esteem left. He truly believes that he is a bad luck charm, an impression he carries over into his personal life as well. Enter Natalie Belisario, a sweet, beautiful cocktail waitress at the casino, who is assigned by Shelley to accompany Bernie on his treks around the room. What none of them expect – least of all Bernie and Natalie - is that the two of them will wind up falling in love with each other and that this happy turnabout in Bernie's personal life will extend to the professional arena as well. Bernie's new role at work as a wandering leprechaun, dispensing good luck and fortune in his wake, is not, of course, a positive thing for business. Thus, Shelley feels compelled to step in and wrest control of the situation, any way he can.

The screenplay uses the gambling scene in Vegas as a metaphor for life. The film, written by Frank Hannah and Wayne Kramer and directed by Kramer, shows that achieving happiness is really all about taking chances, laying down our bets and going for the big score even when all the odds are against us. And nothing in the film underscores that theme more than the relationship between Bernie and Natalie. In fact, Bernie's final act is really one giant spin of the wheel that manages to pay off. After he's taken his chance and beaten the house (and not just at the craps table), he is Bad Luck incarnate no more. Yet, in many ways, the script is so heavily symbolic - so rife with contrived allegory and neatly lined-up parallelism – that it almost ends up derailing the film in the second half. On the positive side, Bernie and Natalie make a compelling romantic couple, as she attempts to build up his confidence and make him see his own self-worth. Macy and Bello do a beautiful job capturing the essence of these two lost souls who find strength in each other's weaknesses. In addition, Baldwin paints a chilling portrait of a man who is smooth and suave on the surface, yet so ruthless underneath that he will literally stop at nothing to get what he wants. The dialogue is sharp, abrasive and insightful and the insider view of casino operations is, as always, fascinating to watch. The film also captures the evolutionary struggle Vegas itself has been undergoing over the years. Shelley is like an animal facing imminent extinction, as the Vegas he yearns for – the one run by syndicate money for hardcore gamblers, truly the last outpost in a fading frontier where a fistfight or a gun battle could settle any argument – makes way for the new Vegas of glitzy mega-casinos and family-oriented Disney-esque attractions.

What undercuts the film in the second half is its falling for its own fantastical premise. The idea that one person can spread good or bad luck depending on his mood is fine for a ruse, but when the screenplay itself begins to endorse that view, the film loses both grit and credibility. The final sequences, in particular, have a feeling of desperation to them, as if the filmmakers couldn't come up with a viable ending, so they turned, quite literally, to Lady Luck to get them out of their predicament. The problem, essentially, is that 'The Cooler' starts off as a realistic drama, then wanders off into rueful fantasy. It makes the film more 'clever' in the long run, I suppose - though I, for one, would have preferred a more consistently life-like approach and a more believable resolution.

This is not to in any way denigrate the brilliant performances of the three leads or to minimize the many elements of quality that make up the film. Despite its flaws, 'The Cooler' is a compelling human drama that, if nothing else, will make you think twice before you grab all those winnings off the crap table.


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