The Grifters (1990)

A small-time conman has torn loyalties between his estranged mother and new girlfriend--both of whom are high-stakes grifters with their own angles to play.

Director:

Stephen Frears

Writers:

Jim Thompson (novel), Donald E. Westlake (screenplay)

Stars:

Anjelica Huston, John Cusack, Annette Bening

Nominated for 4 Oscars. Another 10 wins & 17 nominations.

Cast

Cast overview, first billed only:
Anjelica Huston	...	Lilly Dillon
John Cusack	...	Roy Dillon
Annette Bening	...	Myra Langtry
Jan Munroe	...	Guy at Bar
Robert Weems	...	Racetrack Announcer
Stephen Tobolowsky	...	Jeweler
Jimmy Noonan	...	Bartender
Richard Holden	...	Cop
Henry Jones	...	Simms
Michael Laskin	...	Irv
Eddie Jones	...	Mintz
Sandy Baron	...	Doctor
Lou Hancock	...	Nurse
Gailard Sartain	...	Joe
Noelle Harling	...	Nurse Carol Flynn

Storyline

Lily works for a bookie, placing bets to change the odds at the track. When her son is hospitalized after an unsuccessful con job and resultant beating, she finds that even an absentee parent has feelings for her child. This causes her own job to go wrong as well. Each of them faces the down side of the grift.

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Plot Keywords:

hidden money | femme fatale | mother son relationship | con | older woman younger man relationship | 

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Taglines:

Seduction. Betrayal. Murder. Who's Conning Who?

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Genres:

Crime | Drama | Thriller

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Certificate:

R

Details

Official Sites:

Official site

Country:

USA Canada

Language:

English

Release Date:

25 January 1991 (USA)

Also Known As:

Ambiciones prohibidas

Filming Locations:

Arizona, USA

Box Office

Opening Weekend USA:

$125,195, 21 January 1991, Limited Release

Gross USA:

$13,446,769

Company Credits

Production Co:

Cineplex-Odeon Films

Technical Specs

Runtime:

110 min

Sound Mix:

Dolby

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

Myra is seen working a con at the offices of Coe, Stark, Fellowes & Associates. Tucker Coe and Richard Stark are two pseudonyms used by Screenwriter and Author Donald E. Westlake.

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Goofs

At the end of the movie when Lilly is leaving Roy's apartment with his money, blood is clearly visible on her knees and calves. But moments later when she is going down in the elevator, her legs are clean.

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Quotes

[first lines]
Voice-over: Around the country the bookies pay off winners at track odds. It's dangerous when a long shot comes in. Unless you have somebody at the tracks to lower those odds.

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Connections

Referenced in The Making of 'Cape Fear' (2001)

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Soundtracks

DO YOU DO YOU LOVE ME
Performed by Dreamworld
Words & Music by Pete Theodore and Emilie A. Bernstein (as Emily Bernstein)

User Reviews

One mean neo-noir (2 minute review)

This is one mean movie. It seduces, wraps your arms around you, and they guts you and leaves you stunned. Directed with striking precision and focus by Stephen Frears ("Philomena", "The Queen"), and written by Donald E. Westlake, one of the literary princes of crime fiction, and based off pulp author Jim Thompson's pulpy novel, in a manner so intricate with detail, so hardboiled that it cracks under the weight of each step it takes, one twist of the knife after another.

It's all too good to be true for this neo-noir, even when Martin Scorsese's producing it. Then comes the actors – and my word, are they fantastic in their roles – John Cusack is sly yet undeterred in a role that is a slightly more edgier variation on Humphrey Bogart, with a cross of Lee Marvin, to boot; Annette Bening is simply drop-dead sexy as the woman who thinks she knows it all, yet is a timebomb waiting to explode. The real star of the show is Angelica Huston in a well-deserved Oscar nominated performance, perfectly balancing the ruthless, desperate act with a honest, focused, motherly concern that doesn't feel cliché at all.

Who knew modern day, sunny Los Angeles and Phoenix can be the backdrop of so seedy a neo-noir, perhaps the best since Chinatown? Frears, Huston, Cusack, Bening, Westlake, cinematographer Oliver Stapleton and composer Elmer Bernstein deserve all the praise they can get for creating something so seedy yet starkly beautiful in retrospect.