One appreciates this film more over the years as one grows older and therefore more sympathetic toward the older characters. Malle achieves directorial power through camera work that is near-objective and not judgmental, similar to his far-more-disturbing (but definitely worth watching) Pretty Baby. As previous reviewers have mentioned, Atlantic City's sensibility also puts one in mind of similar cinematic masters Anderson and Altman.
Sally (Susan Sarandon) is a comically ambitious young waitress, Lou (Burt Lancaster) a comically dignified old two-bit hood. That is to say, they are, respectively, a wanna-be and a has-been (or perhaps more of a never-was). They meet and interact over the course of about 48 hours that bring them together briefly and bring both what they seek most: Sally a fresh start, Lou the chance to start over.
The greatness of a film can often be evaluated by how fascinating the secondary characters are. Grace (Kate Reid), Lou's verbally abusive friend/lover, is the widow of one of Lou's fellow small-time crooks; she has spent much of her life being taken care of and staying in bed. She, too, achieves transformation and transcendence; at the end, it is she who finally is taking care of someone else (Sally's pathetically naive, pregnant younger sister), getting out of bed and dressing up to promenade the faded boardwalk on the arm of Lou, who has finally earned her respect. This last scene shows that these two old folks -- like Atlantic City itself -- may be down, but far from out.
Sally (Susan Sarandon) is a comically ambitious young waitress, Lou (Burt Lancaster) a comically dignified old two-bit hood. That is to say, they are, respectively, a wanna-be and a has-been (or perhaps more of a never-was). They meet and interact over the course of about 48 hours that bring them together briefly and bring both what they seek most: Sally a fresh start, Lou the chance to start over.
The greatness of a film can often be evaluated by how fascinating the secondary characters are. Grace (Kate Reid), Lou's verbally abusive friend/lover, is the widow of one of Lou's fellow small-time crooks; she has spent much of her life being taken care of and staying in bed. She, too, achieves transformation and transcendence; at the end, it is she who finally is taking care of someone else (Sally's pathetically naive, pregnant younger sister), getting out of bed and dressing up to promenade the faded boardwalk on the arm of Lou, who has finally earned her respect. This last scene shows that these two old folks -- like Atlantic City itself -- may be down, but far from out.
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