Film Review: American Hustle

Con man Irving Rosenfeld (Christian Bale) and his partner Sydney Prosser (Amy Adams) are forced to work with FBI agent Richie DiMaso (Bradley Cooper) after being caught out running a loan scam. However, what starts out as a straightforward sting operation soon becomes embroiled in the world of Jersey powerbrokers and mafia.

In the opening scene of American Hustle, we see an overweight Christian Bale meticulously attaching a hairpiece to mask his baldness. So much attention is paid to each strand of hair; it’s a work of art. By the end of it, he actually looks pretty good, and that perfectly sets the tone for the rest of the film.

See, practically everyone in American Hustle is hiding behind a façade, whether it’s part of a con to bring down corrupt politicians, or simply in the privacy of their own home. Everyone is putting on a front, be it for self-preservation or to attract or please the ones they love. It’s an interesting theme and one that really lets you get inside the characters, their motivations and their aspirations.

This depth to the characters is essential as American Hustle’s story isn’t really its strong point. The ‘hustle’ part of the story is loosely based on a true story, the Abscam operation of the 1970s and 80s, but never really has the required depth and thus feels rather shallow. I found it difficult to really care about the actual con and the payoff at the end was somewhat underwhelming. The pacing is also a little erratic with certain sections that lull and feel too drawn out.

However, as with all David O Russell films, the story is largely of little consequence; it’s the characters who form the basis of the drama, and this is where American Hustle really excels. O Russell has assembled quite the cast and pretty much everyone delivers a stellar performance. Christian Bale as the overweight, balding lead is magnificent as we see him transform from confident grifter in the outset to someone who’s way out of his depth once the operation gets into full swing.

Amy Adams, who plays a quasi femme fatale character, is also brilliant as she constantly keeps you (and the other characters) guessing where her allegiances really lie. Bradley Cooper plays, well, Bradley Cooper whilst Jennifer Lawrence is superbly trashy yet vulnerable as Irving’s wife. Robert De Niro also crops up in an uncredited role and absolutely steals those scenes, which almost makes you wish he had a more prominent role.

Many have claimed that American Hustle plays a little like a Scorsese-lite film, borrowing heavily from films such as Goodfellas but without the same substance and depth, and there is some truth in this. There are definite nods to Scorsese’s films but American Hustle does manage to find its own identity, sticking its tongue firmly in its cheek as it does so.

As with O Russell’s previous film, Silver Lining’s Playbook, American Hustle’s story might only get you so far but the ensemble’s performances ensure you become invested in characters you care about even if they’re tremendously flawed and not altogether likeable, and that’s not an easy feat.

Pros

• Stellar performances, particularly from Bale and Adams
• Great period setting, clothes, hairstyles, etc
• Jennifer Lawrence singing Live and Let Die

Cons

• Somewhat weak story and climax
• Dodgy pacing at times

4/5 pigeons

Film Review: The Assassination of Jesse James by the Coward Robert Ford

Jesse James (Brad Pitt) is a notorious criminal with almost legendary status. Robert Ford (Casey Affleck) has looked up him since childhood and attempts to join his gang, but over the years grows to resent his idol.

The Assassination of Jesse James by the Coward Robert Ford (herein referred to as The Assassination of Jesse James) is a an appropriately long title for a film clocking in at nearly three hours. However, it’s a film that uses almost every minute of that run time wisely to help construct fascinating characters and an absorbing world in which they exist.

See, The Assassination of Jesse James has an almost fairytale-like quality, with Jesse a Robin Hood type figure widely revered despite his criminal activity. This paints him as a clear anti-hero, clearly the most identifiable character in the film. Showing Jesse also as a family man, caring for his children is a lovely touch, allowing for a much deeper character. Conversely, Casey Affleck’s Robert Ford instantly becomes the most dislikeable character in the film, portrayed as a snivelling two-faced sycophant.

Much of the praise for the characterisation has to go to the actors. Both Pitt and Affleck are excellent; Pitt’s laid-back, almost nonchalant performance superbly contrasts with Affleck’s eagerness, whilst others such as Sam Rockwell and Jeremy Renner also turn in good performances, which again adds to the depth of the film.

It’s got to be said that The Assassination of Jesse James is not a film to sling on if you want some light-hearted, mindless entertainment. It’s long and deliberately slow paced, demanding your attention from the first minute to the last. It does occasionally meander a little too much, losing a little focus, but these moments are few and fleeting. As such, it may even warrant a second viewing to truly appreciate everything it offers.

And one of the things that really does deserve to be appreciated is the film’s stunning cinematography. There’s a brooding, ethereal quality to the film which adds to the fairytale-like atmosphere. Roger Deakins’ cinematography is outstanding, with every shot a work of art that deserves to be appreciated.

What’s interesting about the The Assassination of Jesse James is that you already know how it’s going to end; it says so in the title. But the ‘what’ and the ‘who’ aren’t really what’s important here. What’s important is the ‘why’. The film is a journey, more of Robert Ford’s than Jesse James’s, and it’s interesting to see how all of the minutiae add up to form the climax you know is on its way.

It may be long and it may be demanding, but it’s well worth the effort.

4.5/5 pigeons