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The Gambler (2014)
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2015-01-15T00:00:00
|
The Gambler: Directed by Rupert Wyatt. With Mark Wahlberg, George Kennedy, Griffin Cleveland, Jessica Lange. Literature professor and gambler Jim Bennett's debt causes him to borrow money from his mother and a loan shark. Further complicating his situation, is his relationship with one of his students. Will Bennett risk his life for a second chance?
|
en
|
IMDb
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https://www.imdb.com/title/tt2039393/
|
Jim Bennett: I've been up two and a half million dollars.
Frank: What you got on you?
Jim Bennett: Nothing.
Frank: What you put away?
Jim Bennett: Nothing.
Frank: You get up two and a half million dollars, any asshole in the world knows what to do: you get a house with a 25 year roof, an indestructible Jap-economy shitbox, you put the rest into the system at three to five percent to pay your taxes and that's your base, get me? That's your fortress of fucking solitude. That puts you, for the rest of your life, at a level of fuck you. Somebody wants you to do something, fuck you. Boss pisses you off, fuck you! Own your house. Have a couple bucks in the bank. Don't drink. That's all I have to say to anybody on any social level. Did your grandfather take risks?
Jim Bennett: Yes.
|
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6232
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dbpedia
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3
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https://en.wikipedia.org/wiki/The_Hustler
|
en
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The Hustler
|
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2007-02-04T15:51:38+00:00
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https://en.wikipedia.org/wiki/The_Hustler
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1961 gambling film by Robert Rossen
This article is about the 1961 film by Robert Rossen. For the novel this film is adapted from, see The Hustler (novel). For other films titled similarly, see Hustler#Films.
The HustlerDirected byRobert RossenScreenplay bySidney Carroll
Robert RossenBased onThe Hustler
by Walter TevisProduced byRobert RossenStarringCinematographyEugen Schüfftan (as Eugene Shuftan)Edited byDede AllenMusic byKenyon Hopkins
Production
company
Rossen Enterprises
Distributed by20th Century-Fox
Release date
Running time
135 minutesCountryUnited StatesLanguageEnglishBudget$2.1 million[1]Box office$7.6 million[2]
The Hustler is a 1961 drama film, directed by Robert Rossen. It tells the story of small-time pool hustler "Fast Eddie" Felson, who challenges legendary pool player "Minnesota Fats".
The film, which was based on a book of the same name by Walter Tevis, stars Paul Newman as Fast Eddie, Jackie Gleason as Minnesota Fats, Piper Laurie as Sarah, George C. Scott as Bert, and Myron McCormick as Charlie.
The Hustler was a major critical and popular success, gaining a reputation as a modern classic. Its exploration of winning, losing, and character garnered a number of major awards; it is also credited with helping to spark a resurgence in the popularity of pool.[3] In 1997, the Library of Congress selected The Hustler for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant".[4][5] The Academy Film Archive preserved The Hustler in 2003.[6]
A 1986 sequel, The Color of Money, starred Newman reprising his role as Felson, for which he won his only Academy Award.
Plot
[edit]
"Fast Eddie" Felson is accompanied by his partner, Charlie, at a pool room in a small town. Pretending to be salesmen on their way to a convention, Eddie and Charlie convince onlookers that Eddie is a drunk blowhard, and induce them to bet on Eddie to lose a trick shot. He wins and takes their money.
Eddie and Charlie arrive in New York City, where Eddie challenges the legendary player Minnesota Fats to play straight pool for $200 a game. After initially falling behind, Eddie surges back to being $1,000 ahead and suggests raising the bet to $1,000 a game. Eddie gets ahead $11,000 and Charlie tries to convince him to quit, but Eddie insists the game will end only when Fats says it is over. Fats agrees to continue after a spectator, the professional gambler Bert Gordon, labels Eddie a "loser". After 25 hours and an entire bottle of bourbon, Eddie is ahead over $18,000, but loses it all along with all but $200 of his original stake. Fats declares the game over. At their hotel later, Eddie leaves a sleeping Charlie without saying goodbye.
Eddie stashes his belongings in a locker at a bus terminal, where he meets Sarah Packard, an alcoholic. They begin a relationship and he moves in with her. Charlie finds Eddie at Sarah's apartment and tries to persuade him to go back out on the road. Eddie refuses and Charlie realizes he plans to challenge Fats again. Eddie learns that Charlie had money he could have used to rebound and beat Fats. Eddie dismisses Charlie as a scared old man and tells him to "lay down and die by yourself".
Eddie joins a poker game where Bert is playing. Afterward, Bert tells Eddie that he has talent as a pool player but no character. He figures that Eddie will need at least $3,000 to challenge Fats again. Bert calls him a "born loser" but nevertheless offers to stake him in return for 75% of his winnings; Eddie refuses.
Eddie goes back to hustling to get the money he needs to play Fats. After hustling a local player at a pool room near the waterfront, Eddie is attacked after winning and his thumbs are broken. After Sarah helps Eddie convalesce, and when he’s ready to play, he agrees to Bert's terms, deciding that a "25% slice of something big is better than a 100% slice of nothing".
Bert, Eddie, and Sarah travel to the Kentucky Derby, where Bert arranges a match for Eddie against a wealthy local socialite named Findley. The game turns out to be three-cushion billiards, not pool. When Eddie loses badly, Bert refuses to keep staking him. Sarah pleads with Eddie to leave with her, saying that the world he is living in and its inhabitants are "perverted, twisted, and crippled"; he refuses. Seeing Eddie's anger, Bert agrees to let the match continue at $1,000 a game. Eddie comes back to win $12,000. He collects his $3,000 share and decides to walk back to the hotel where he discovers that Sarah has committed suicide, because of Bert's sadism.
Eddie returns to challenge Fats again, putting up his entire $3,000 stake on a single game. He wins game after game, beating Fats so badly that Fats is forced to quit. Bert demands half of Eddie's winnings and threatens to have him beaten unless he pays. Eddie says he will come back to kill Bert if he survives, shaming Bert into giving up his claim by invoking Sarah's memory. Instead, Bert orders Eddie never to walk into a big-time pool hall again. Eddie and Fats compliment each other as players, and Eddie walks out.
Cast
[edit]
Paul Newman as Eddie Felson
Jackie Gleason as Minnesota Fats
Piper Laurie as Sarah Packard
George C. Scott as Bert Gordon
Myron McCormick as Charlie Burns
Murray Hamilton as Findley
Michael Constantine as Big John
Stefan Gierasch as Preacher
Clifford Pellow as Turk
Jake LaMotta as bartender
Vincent Gardenia as bartender
Charles Dierkop as poolroom hood
Carl York as Young Hustler
Alexander Rose as Score Keeper
Gordon B. Clarke as Cashier
Carolyn Coates as Waitress
Pool champion Willie Mosconi has a cameo appearance as Willie, who holds the stakes for Eddie and Fats's games. Mosconi's hands also appear in many of the closeup shots.
Production
[edit]
The Tevis novel had been optioned several times, including by Frank Sinatra, but attempts to adapt it for the screen were unsuccessful. Director Rossen's daughter Carol Rossen speculates that previous adaptations focused too much on the pool aspects of the story and not enough on the human interaction. Rossen, who had hustled pool himself as a youth and who had made an abortive attempt to write a pool-themed play called Corner Pocket, optioned the book and teamed with Sidney Carroll to produce the script.[7]
According to Bobby Darin's agent, Martin Baum, Paul Newman's agent turned down the part of Fast Eddie.[8] Newman was originally unavailable to play Fast Eddie regardless, being committed to star opposite Elizabeth Taylor in the film Two for the Seesaw.[9] Rossen offered Darin the part after seeing him on The Mike Wallace Interview.[10] When Taylor was forced to drop out of Seesaw because of shooting overruns on Cleopatra, Newman was freed up to take the role, which he accepted after reading just half of the script.[9] No one associated with the production officially notified Darin or his representatives that he had been replaced; they found out from a member of the public at a charity horse race.[11]
Rossen filmed The Hustler over six weeks, entirely in New York City. Much of the action was filmed at two now-defunct pool halls, McGirr's and Ames Billiard Academy.[12] Other shooting locations included a townhouse on East 82nd Street, which served as the Louisville home of Murray Hamilton's character Findley, and the Manhattan Greyhound bus terminal. The film crew built a dining area that was so realistic that confused passengers sat there and waited to place their orders.[13] Willie Mosconi served as technical advisor on the film[12] and shot a number of the trick shots in place of the actors. All of Gleason's shots were his own; they were filmed in wide-angle to emphasize having the actor and the shot in the same frames.[14] Rossen, in pursuit of the style he termed "neo-neo-realistic",[15] hired actual street thugs, enrolled them in the Screen Actors Guild and used them as extras.[16] Scenes that were included in the shooting script but did not make it into the final film include a scene at Ames pool hall establishing that Eddie is on his way to town (originally slated to be the first scene of the film) and a longer scene of Preacher talking to Bert at Johnny's Bar which establishes Preacher is a junkie.[17]
Early shooting put more focus on the pool playing, but during filming Rossen made the decision to place more emphasis on the love story between Newman and Laurie's characters.[18] Despite the change in emphasis, Rossen still used the various pool games to show the strengthening of Eddie's character and the evolution of his relationship to Bert and Sarah, through the positioning of the characters in the frame. For example, when Eddie is playing Findley, Eddie is positioned below Bert in a two shot but above Findley while still below Bert in a three shot. When Sarah enters the room, she is below Eddie in two-shot while in a three-shot Eddie is still below Bert. When Eddie is kneeling over Sarah's body, Bert again appears above him but Eddie attacks Bert, ending up on top of him. Eddie finally appears above Bert in two-shot when Eddie returns to beat Fats.[19]
Themes
[edit]
The Hustler is, fundamentally, a story of what it means to be a human being, couched within the context of winning and losing.[14][20] Describing the film, Robert Rossen said: "My protagonist, Fast Eddie, wants to become a great pool player, but the film is really about the obstacles he encounters in attempting to fulfill himself as a human being. He attains self-awareness only after a terrible personal tragedy which he has caused — and then he wins his pool game."[20] Roger Ebert concurs with this assessment, citing The Hustler as "one of the few American movies in which the hero wins by surrendering, by accepting reality instead of his dreams".[14]
The film was also somewhat autobiographical for Rossen, relating to his dealings with the House Un-American Activities Committee (HUAC). A screenwriter during the 1930s and '40s, he had been involved with the Communist Party in the 1930s and refused to name names at his first HUAC appearance. Ultimately he changed his mind and identified friends and colleagues as party members. Similarly, Felson sells his soul and betrays the one person who really knows and loves him in a Faustian pact to gain character.[21] Rossen also takes aim at capitalism, often showing money as a malign and corrupting influence. Eddie, Bert and Findley are all shown to be perverted by their pursuit of money. Of the pool hall inhabitants, only Minnesota Fats, who never handles money himself, focusing only on the game he is playing, is uncorrupted and undamaged by the end. He is beaten, but knows when to quit. Rossen often points out and exposes class divisions; for example, when Minnesota Fats asks Preacher, a junkie willing to run errands, to get him some "White Tavern whiskey, a glass and some ice", Eddie counters by ordering cheap bourbon, without any of the niceties: "J.T.S. Brown, no ice, no glass."
Film and theatre historian Ethan Mordden has identified The Hustler as one of a handful of films from the early 1960s that re-defined the relationship of films to their audiences. This new relationship, he writes, is "one of challenge rather than flattery, of doubt rather than certainty".[22] No film of the 1950s, Mordden asserts, "took such a brutal, clear look at the ego-affirmation of the one-on-one contest, at the inhumanity of the winner or the castrated vulnerability of the loser".[23] Although some have suggested the resemblance of this film to classic film noir, Mordden rejects the comparison based on Rossen's ultra-realistic style, also noting that the film lacks noir's "Treacherous Woman or its relish in discovering crime among the bourgeoisie, hungry bank clerks and lusty wives".[23] Mordden does note that while Fast Eddie "has a slight fifties ring",[24] the character "makes a decisive break with the extraordinarily feeling tough guys of the 'rebel' era ... [b]ut he does end up seeking out his emotions"[24] and telling Bert that he is a loser because he's dead inside.[24]
Reception
[edit]
The Hustler had its world premiere in Washington, D.C., on September 25, 1961. Prior to the premiere, Richard Burton hosted a midnight screening of the film for the casts of the season's Broadway shows, which generated a great deal of positive word of mouth.[25] Initially reluctant to publicize the film, 20th Century-Fox responded by stepping up its promotional activities.[26] Box office was healthy, with estimated eventual U.S. - Canada rentals of $3,000,000, according to Variety magazine.[27]
On review aggregator Rotten Tomatoes, the film has an approval rating of 94% based on 49 reviews, with an average rating of 8.5/10. The website's critical consensus reads: "Paul Newman and Jackie Gleason give iconic performances in this dark, morally complex tale of redemption."[28] Metacritic assigned the film a weighted average score of 90 out of 100, based on 18 critics, indicating "universal acclaim".[29]
The film was well received by critics, although with the occasional reservation. Variety praised the performances of the entire main cast but felt that the "sordid aspects" of the story prevented the film from achieving the "goal of being pure entertainment".[30] Variety also felt the film was far too long. Stanley Kauffmann, writing for The New Republic, concurred in part with this assessment. Kauffmann strongly praised the principal cast, calling Newman "first-rate" and writing that Scott's was "his most credible performance to date". Laurie, he writes, gives her part "movingly anguished touches" (although he also mildly criticizes her for over-reliance on Method acting). While he found that the script "strains hard to give an air of menace and criminality to the pool hall" and also declares it "full of pseudo-meaning", Kauffmann lauds Rossen's "sure, economical" direction, especially in regard to Gleason who, he says, does not so much act as "[pose] for a number of pictures which are well arranged by Rossen. It is the best use of a manikin by a director since Kazan photographed Burl Ives as Big Daddy."[31] A. H. Weiler of The New York Times, despite finding that the film "strays a bit" and that the romance between Newman and Laurie's characters "seems a mite far-fetched", nonetheless found that The Hustler "speaks powerfully in a universal language that spellbinds and reveals bitter truths".[32]
Accolades
[edit]
Award Category Nominee(s) Result Academy Awards[33] Best Motion Picture Robert Rossen Nominated Best Director Nominated Best Actor Paul Newman Nominated Best Actress Piper Laurie Nominated Best Supporting Actor Jackie Gleason Nominated George C. Scott (refused nomination) Nominated Best Screenplay – Based on Material from Another Medium Robert Rossen and Sidney Carroll Nominated Best Art Direction – Black-and-White Harry Horner and Gene Callahan Won Best Cinematography – Black-and-White Eugen Schüfftan Won American Cinema Editors Awards Best Edited Feature Film Dede Allen Nominated British Academy Film Awards[34] Best Film Won Best Foreign Actor Paul Newman Won Best Foreign Actress Piper Laurie Nominated Directors Guild of America Awards Outstanding Directorial Achievement in Motion Pictures Robert Rossen Nominated Golden Globe Awards[35] Best Actor in a Motion Picture – Drama Paul Newman Nominated Best Supporting Actor – Motion Picture Jackie Gleason Nominated George C. Scott Nominated Most Promising Newcomer – Male Nominated Laurel Awards Top Drama Nominated Top Male Dramatic Performance Paul Newman Won Top Female Dramatic Performance Piper Laurie Nominated Top Male Supporting Performance Jackie Gleason Won Top Cinematography – Black and White Eugen Schüfftan Won Mar del Plata International Film Festival Best Film Robert Rossen Nominated Best Actor Paul Newman Won National Board of Review Awards[36] Top Ten Films 2nd Place Best Supporting Actor Jackie Gleason Won National Film Preservation Board National Film Registry Inducted New York Film Critics Circle Awards[37] Best Director Robert Rossen Won Best Actor Paul Newman Nominated Best Actress Piper Laurie Nominated Satellite Awards Best Classic DVD Paul Newman – The Tribute Collection Nominated Writers Guild of America Awards[38] Best Written American Drama Robert Rossen and Sidney Carroll Won
American Film Institute Lists:
AFI's 100 Years...100 Movies—Nominated[39]
AFI's 100 Years...100 Thrills—Nominated[40]
AFI's 100 Years...100 Heroes and Villains:
Bert Gordon—Nominated Villain[41]
AFI's 100 Years...100 Movie Quotes:
"Eddie, you're a born loser."—Nominated[42]
AFI's 100 Years...100 Movies (10th Anniversary Edition)—Nominated[43]
AFI's 10 Top 10 – #6 Sports Film
Sequel
[edit]
Main article: The Color of Money
Paul Newman reprised his role as "Fast Eddie" Felson in the 1986 film The Color of Money, for which he won his one and only Academy Award for Best Actor in a Leading Role. A number of observers and critics have suggested that this Oscar was in belated recognition for his performance in The Hustler,[14][44] as well as some of his other Oscar-nominated performances in films like Cool Hand Luke and The Verdict.
Legacy
[edit]
In the decades since its release, The Hustler has cemented its reputation as a classic. Roger Ebert, echoing earlier praise for the performances, direction, and cinematography and adding laurels for editor Dede Allen, cites the film as "one of those films where scenes have such psychic weight that they grow in our memories".[14] He further cites Eddie as one of "only a handful of movie characters so real that the audience refers to them as touchstones".[14] TV Guide calls the film a "dark stunner",[45] offering "a grim world whose only bright spot is the top of the pool table, yet [with] characters [who] maintain a shabby nobility and grace".[45] The four leads are again lavishly praised for their performances and the film is summed up as "not to be missed".[45]
Carroll and Rossen's screenplay was selected by the Writers Guild of America in 2006 as the 96th best motion picture screenplay of all time.[46]
In June 2008, AFI released its "Ten top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. The Hustler was acknowledged as the sixth best film in the sports genre.[47][48]
The Hustler is credited with sparking a resurgence in the popularity of pool in the United States, which had been on the decline for decades.[3] The film also brought recognition to Willie Mosconi, who, despite having won multiple world championships, was virtually unknown to the general public.[49] Perhaps the greatest beneficiary of the film's popularity was a real-life pool hustler named Rudolf Wanderone. Mosconi claimed in an interview at the time of the film's release that the character of Minnesota Fats was based on Wanderone, who at the time was known as "New York Fatty". Wanderone immediately adopted the Minnesota Fats nickname and parlayed his association with the film into book and television deals and other ventures. Author Walter Tevis denied for the rest of his life that Wanderone had played any role in the creation of the character.[50] Other players would claim, with greater or lesser degrees of credibility, to have served as models for Fast Eddie, including Ronnie Allen, Ed Taylor, Eddie Parker, and Eddie Pelkey.[51]
See also
[edit]
Cue sports portal
Film portal
List of American films of 1961
Side Pocket and Minnesota Fats: Pool Legend, video games partially inspired by the film.
"A Game of Pool" – 1961 episode of The Twilight Zone
References
[edit]
Notes
Bibliography
Casty, Alan (1969). The Films of Robert Rossen. New York, The Museum of Modern Art. LCCN 68-54921.
Dyer, R. A. (2003). Hustler Days: Minnesota Fats, Wimpy Lassiter, Jersey Red, and America's Great Age of Pool. New York, Muf Books. ISBN 1-56731-807-X.
French, Karl and French, Phillip (2000). Cult Movies. New York, Billboard Books. ISBN 0-8230-7916-3
Mordden, Ethan (1990). Medium Cool: The Movies of the 1960s. New York, Alfred A. Knopf. ISBN 0-394-57157-6
Rossen, Robert (1972). Three Screenplays: All the Kings Men, The Hustler, and Lilith. New York, Anchor Doubleday Books. LCCN 70-175418.
Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History (The Scarecrow Filmmakers Series). Lanham, Maryland, Scarecrow Press. ISBN 978-0-8108-4244-1.
Starr, Michael and Michael Seth Starr (2004). Bobby Darin: A Life. Taylor Trade Publications. ISBN 1-58979-121-5.
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https://www.popmatters.com/kenny-rogers-legend-2006-2496254015.html
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en
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Kenny Rogers: Legend of the Gambler (1980, 1983, 1987)
|
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"Sarah Zupko Kondeusz",
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If there's one thing Kenny Rogers knows how to do, it's create a successful franchise.
|
en
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PopMatters
|
https://www.popmatters.com/kenny-rogers-legend-2006-2496254015.html
|
If there’s one thing Kenny Rogers knows how to do, it’s create a successful franchise. Long before he built his chicken-and-rib empire, Rogers built a music career by melding a country sensibility with middle-of-the-road pop tunes.
One of Rogers’s biggest hits was 1978’s “The Gambler,” a classic story song about a late-night encounter between two passengers, the narrator and an aging gambler, on a train “bound for nowhere.” In exchange for the narrator’s last swallow of whiskey, the gambler dispenses a lifetime’s worth of advice (“You’ve got to know when to hold ’em, know when to fold ’em / Know when to walk away, know when to run”) before expiring in his sleep.
Delivered in Rogers’ trademark gravel-road drawl, the song earned Rogers a Grammy; a year later, the character found new life on TV, complete with a name (“Brady Hawkes”) and a sidekick (Bruce Boxleitner as “Billy Montana”). The three-minute ditty would eventually spawn a TV movie and four miniseries sequels — not bad for a character who died in the original song. The Legend of the Gambler box set features three installments (two more sequels are not included here), and no extras to speak of. As a consolation prize, the set does include a snazzy set of Gambler-themed playing cards emblazoned with Rogers’ squinting face. (If nothing else, viewers can play Texas Hold ‘Em during the films’ slower parts.)
The Gambler, the first entry in the series, finds legendary poker player Hawkes (Rogers) on a train to Yuma, California, to rescue a son he’s never known from the malevolent beau of his ex-lover. Along the way, Hawkes meets up with Montana, a greenhorn looking to make a name as a professional gambler. The grizzled veteran reluctantly takes the young man under his wing, teaching him about cards and yes, life. The plot is embellished with a damsel in distress, a former saloon girl (Lee Purcell) looking to make a fresh start, who catches the eye of a lecherous railroad tycoon, Arthur Stobridge (Harold Gould). No surprise, all leads to a high-stakes card game.
The movie echoes the original tune, an odd combination of existential weariness and jaunty bravado, via buddy-movie heroics and a surprisingly hard-edged family melodrama involving another prostitute and Hawkes’ son. Writer-producer Jim Byrnes, a veteran of Gunsmoke and How the West Was Won, blends bits and pieces of innumerable Westerns into a pastiche that feels not so much like a rip-off as a nostalgic revival of genre that was moribund in 1980.
Aside from the low production values — this is very much a soundstage Western, with its bland, too-bright lighting and back-lot exteriors — the most prominent flat note is Rogers himself. While he’s not entirely terrible in his first starring role, it’s probably just as well that he’s supposed to be playing a man of few words and wooden affect. As for Boxleitner, well… he’s Boxleitner, with his dazzling grin and unwavering, plasticky cheerfulness in full effect.
The Gambler: The Adventure Continues (1983) picks up where the first film left off, with our heroes en route to another high-stakes poker game in San Francisco. The previous film’s heroine has disappeared without explanation, clearing the stage for Linda Evans as Kate Muldoon, singing sensation and bounty huntress. The black hat this time around belongs to Charlie McCourt (Mitch Ryan), an outlaw so widely feared that even the most vicious assassin slinks away at the mere mention of his name. McCourt kidnaps Hawkes’ son as part of a plot to extort a million dollars from Stobridge.
This second installment raises the stakes on all fronts, including running time (doubled, as a two-part miniseries). Unfortunately, much of this is padding; the film switches back and forth between Hawkes and the outlaws so often, for so little reason, that it’s like watching cowboys play tennis. By the fourth or fifth time the kid tries to escape his abductors, only to be recaptured and threatened with death, you wish McCourt would just shoot him already (it doesn’t seem to occur to any of them to tie the kid up). Meanwhile, Hawkes and Montana (after a great deal of inconsequential exposition) rustle up a posse of Hawkes’ former Union army buddies, in sort of a half-hearted homage to The Magnificent Seven. The show benefits from a more elaborate production and engaging performances, most notably by Brion James as Reece, a surly knife-fighter.
The third film, the unimaginatively titled The Gambler: The Legend Continues (1987), features a sprawling storyline about a conspiracy among corrupt Army cavalry officers to steal cattle and blame the theft on renegade Sioux. Joining Hawkes and Montana (who still haven’t made it to that card game in Frisco) is a cast peppered with recognizable names, including Jeffrey Jones (in an amusing foretaste of his role on Deadwood) as Buffalo Bill, Dean Stockwell, Charles Durning, George Kennedy, and Linda Gray (keep an eye out for a quick glimpse of a very young Colm Meany). Some of the actors (Durning) make little effort to hide their lack of interest, but Rogers and Boxleitner (in his farewell tour of the franchise) are as game as ever, Rogers having markedly improved since The Gambler.
In a welcome deviation from the usual course of movie franchises, this third installment actually improves on the first two, with much improved production values (including, at last, realistic lighting) and an effort to create an authentic Old West environment (there’s even horse manure in the streets!). The writers must have picked up some clues from 1985’s Pale Rider and Silverado, because The Legend Continues largely eschews the previous films’ rehash of TV Western storylines in favor of an admirably high-minded critique (three years before Dances with Wolves) of Native Americans’ treatment by rapacious white men.
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https://www.usatoday.com/story/life/movies/2014/12/23/the-gambler-review/19156935/
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Mark Wahlberg's 'The Gambler' craps out
|
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2014-12-23T00:00:00
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Despite its stylish look, the movie is a superficial, self-satisfied remake.
|
en
|
USAToday
|
https://www.usatoday.com/story/life/movies/2014/12/23/the-gambler-review/19156935/
|
The Gambler is a hollow, overwrought and glibly cynical remake of a '70s drama about a self-destructive academic.
Mark Wahlberg stars as Jim Bennett, a college English professor with a penchant for high-stakes blackjack games. Bennett is so self-absorbed, unethical and unlikable that it's hard to care what happens to him as he dodges (and takes beatings from) men to whom he owes hundreds of thousands of dollars. He hardly seems to care, so audiences shouldn't either (* ½ out four; rated R; opens Thursday nationwide).
After his grandfather's funeral, Bennett heads for an illegal casino overlooking the Pacific, where he borrows $50,000 from Neville Baraka (Michael Kenneth Williams), a gangster he initially insults. He blows it on blackjack and roulette and gets further entangled by pitting Baraka against the guy who runs the casino (Alvin Ing). All told, he owes $240,000.
The grandson of one of the richest men in California, Bennett begs his wealthy mother (Jessica Lange) for money, then treats her hideously after she ponies up. Rather than paying his debts, he blows what she gives him on more gambling.
Before he began this destructive pattern, , Bennett wrote a well-reviewed novel. But that was then. Now the muse has been replaced by the devil on his shoulder. Perhaps because he comes from money, he can afford a reputation as "the kind of guy who likes to lose."
Just to make himself a notch more abhorrent, Bennett embarks on an affair with Amy (Brie Larson), one of his students. He wins her over by announcing in class that she's the only talented student in the room. But the movie doesn't bother to show Amy's smarts. The talented Larson is given little to do, other than react. This is a macho movie, after all: Women fall into two categories — nubile specimens made for bedding, or nagging harridans.
Bennett's the kind of teacher who exists only in movies — lying on his desk and blathering pompously, berating his students about the perils of mediocrity.
The film was inspired by the 1974 James Caan drama of the same name. Caan's Harvard-educated professor borrows cash from a girlfriend, his mother and bad guys to finance his gambling addiction. Here, Bennett comes off as bored and contemptuous more than addicted. Wahlberg is miscast, unconvincing as a depressed intellectual or a compulsive gambler.
Determined to rely on luck and wits, Bennett involves a struggling student, Lamar (Anthony Kelley) in a gambling scheme, risking the young man's basketball career. It's hard not to wish the college authorities would get wind of his unethical behavior and ruin his life.
John Goodman plays the only entertaining character, a bald, avuncular loan shark.
Larson's Amy astutely points out: "You're one of those guys who started out with no problems at all, and now you have all of them."
Bennett tossed his good fortune away and spends an inordinate amount of time soaking in a bathtub, in a none-too-subtle attempt to wash away his sins. The redemptive ending feels contrived. A bleak finale would at least have been consistent.
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https://milnepublishing.geneseo.edu/exploring-movie-construction-and-production/chapter/2-what-is-genre-and-how-is-it-determined/
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2. What Is Genre and How Is It Determined? – Exploring Movie Construction and Production
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2017-07-11T00:00:00
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https://milnepublishing.geneseo.edu/exploring-movie-construction-and-production/chapter/2-what-is-genre-and-how-is-it-determined/
|
Webster’s Encyclopedic Unabridged Dictionary of the English Language defines genre as “a category of artistic, musical, or literary composition characterized by a particular style, form, or content.”
In other words, genre categorizes movies. Categorizing movies makes it easier for the viewer to discover what he or she likes and will want to see. Putting a movie into a particular genre or category does not diminish the quality of the movie by assuming that if it can be put into a genre, the movie is ordinary and lacks originality and creativity.
Genre consists of four elements or parts: character, story, plot and setting. An equation for remembering the genre is: Story (Action) + Plot + Character + Setting = Genre. This becomes an easy way to remember the elements of a genre.
The above elements of story, plot, setting, and character equal a specific category of movie. These elements are discussed regarding how their variations create a different category of movie.
Some genres may be as general as comedy but do not have sub-genres like comedy. The sub-genres of comedy differ from one another based on the fluctuations of the characters and the story.
Other genres are crime, war, Westerns, spy, adventure, science fiction, horror, fantasy, biography, and mystery. This is why this chapter is longer than the others because of the discussion of these variations.
Drama can be considered a genre, even though some critics do not consider it a genre because it is too general. If the movie elements are serious and cannot fit into a more limited genre, then it can be considered a drama.
Categorizing a movie indirectly assists in shaping the characters and the story of the movie. The shaping determines the plot and best setting to use.
Movies often have genres that overlap, such as adventure in a spy movie, or crime in a science fiction movie. But one genre is predominant.
Other movie labels cannot be considered genres. Film noir, thrillers, and action movies are not actually genres but a director’s style, which will be discussed in a later chapter. They are considered director’s style because their characteristics include cinematography and editing, which are not among the four elements that make up a genre. These labels reflect or accentuate the movie genre rather than defining the genre.
Likewise, musicals and animation are not considered genres but rather “treatments” as to how a particular movie genre is told, even though people, over generations, refer to these types of movies as genres.
You have to be very specific in the discussion of movie terminology, sticking within the particular definition of the terms. Some people will say that genres are labels that are given to stock movies, stating that these movies are routine. Being labeled in a genre is not a negative action.
Movies have their own personalities. Each movie is different. Having a movie labeled in a genre assists people to find a particular movie that they may be interested in watching. Many people like a specific genre or two and will only watch movies in those genres.
What People Like the Most about a Movie
People will state that a particular movie had a good plot or an intriguing story. What people are actually referring to is that they enjoyed the characters, the problems/conflict the characters got into, and how the characters got out of the problems and conflict.
People love a movie because they like to watch characters/people. How many people do you know who like to go to the mall, plaza, or beach and state that they like to people watch? How many people are nosey neighbors because they like to watch what is going on with the people around them?
People may like to watch crime movies or Westerns. They like characters within this particular type of story because of the amount of action or the time period setting. People may like Westerns because they wish they lived in the 19th century because it was considered a simpler time.
Let the Genres Begin
We will begin to discuss the different genres, and even the sub-genres, for certain genre types. I will give a hypothetical example of each so you will begin to see how different genres are formed.
Keep in mind with movie genre, it is the characters that make the movie, and this term is obvious enough that no explanation is needed.
The story is the situation that the characters are in and try to get out of, accomplish, conquer, or overcome. The story has a beginning, middle, and end. More discussion about those will be given in Chapter Three.
The plot is the outline or how the story is told. Remember when people state that they did not like the plot? What they are referring to is that they did not like the story. I will be referring to this concept over and over again throughout the book.
There are only a limited number of plots as the plot is a general outline for a story, like revenge. A particular plot describes how a story will begin, develop, and end. This type of story will have a different format than a plot such as man against nature or man versus the government.
In addition, as we progress through genres, we want to examine how the genre elements change.
You will be able to see that the background and actions of the characters change as the type of stories are different. The setting is dependent upon the story, but the plot remains the same.
I want to stress that we are going through the different genres so character and story development can be seen for each of the genres rather than just giving a general overview of the term genre. I want you to see how only certain elements are contained in a genre, and other elements outside of character, story, plot, and setting are not part of determining a genre.
Comedy Genre
We begin by discussing one of the most popular, general, and complicated genres—comedy.
The Merriam-Webster Dictionary defines comedy simply as “a play, movie, television program, novel, etc., that is meant to make people laugh.” We will discuss comedy in a little more detail than that.
Everybody likes a comedy because everybody likes to laugh and feel good. People like to watch a comedy after a bad day, because once the movie has ended, you can deal with the negativity of the day easier. This is why even horrendous comedy movies can end up making a profit.
The characters and story for a comedy hinge on three areas: the unexpected, the unusual, and repetition. These three areas will generally make people laugh. Generally, a comedy will have a happy ending. Even though some people will deny it, everybody likes a happy ending because it makes them feel good. This is why comedies are so popular.
The complicated part of the comedy genre is that there are different types or sub-genres of comedy; depending upon how outrageous and impossible the characters and story are in the movie. Keep in mind that the plot is general, and the setting can be set in any time or any place.
We will discuss the comedy genre in terms of the different sub-genres of comedies and how the characters and story vary per sub-genre.
Comedies run a gamut, ranging from very physical to nonsensical to subtle to dark. We will discuss the sub-genres in that order, using the same hypothetical example but varying it to show how the different comedy sub-genres will change the characters’ personalities and actions and the story.
The sub-genres of comedy are slapstick, farce, satire, and dark. Any other genres are a variation of these four types. Comedy is actually a variation of physical action and ridicule. The only exception is screwball comedy.
Screwball comedy has many different traits that are outside of a genre. Screwball comedy, because it existed during the Great Depression, contains class conflict between the middle and lower classes and the upper class, along with other peculiarities that only existed during that time period.
Finally, “chick flicks” are generally comedy movies that star women. The Urban Dictionary defines chick flicks as “A film that indulges in the hopes and dreams of women and/or girls and has a happy, fuzzy, ridiculously unrealistic ending.” No doubt the concept of chick flicks goes back to what was previously mentioned; people like a particular type of movie because of the characters in the movie.
Slapstick Comedy
The Merriam-Webster Dictionary defines slapstick as comedy that involves physical action (such as falling down or hitting people). Slapstick comedy, because of the physical action, which becomes extreme at times, has unrealistic characters in an unbelievable story or possibly a story linked together by episodes of the main character’s/protagonist’s life.
The plot is an inner conflict that builds and ends with these various comedic episodes. The setting can be any time or place that best exemplifies the comic antics that the characters go through.
Let’s take a look at an example that demonstrates these elements.
Jack is down on his luck. He helps a girl, Suzie, whose car broke down near where Jack works. He helps her, and then she leaves, but he cannot get her out of his mind.
Then he sees her in one of his classes. He is afraid to talk to her though. Every time he tries to go up to her, he either stumbles and falls or gets involved with helping someone with disastrous consequences. The last time someone asked him to hold onto one of the ropes of the theatre rigging system where the backdrops were attached, too many stage weights attached to the rigging resulted in Jack flying into the air because he did not let go of the rope.
As luck always has it in a slapstick comedy, Suzie is still driving the old broken down car. She breaks down again in almost the same locations as last time. Jack swallowed what little pride he had left, and went to help her. He got her car started, but she did not drive away immediately after getting it fixed but stayed to talk to Jack. They talk, kiss, and accidentally turn the outside sprinkler system on, getting soaking wet in the romantic conclusion.
From this example, you can see that slapstick comedy is all about the characters and the episodic situations that they get into, resulting in physical comedy. The plot is inner conflict where Jack, the protagonist, wants to turn his life around. This then becomes the story. The story has a climax between Jack and Suzie. The setting is a college campus.
Farce
The Merriam-Webster Dictionary defines farce as “a funny play or movie about ridiculous situations and events.”
Plot has more prominence in farce than in slapstick because there is a satirical story. In other words, the story concerns a topic that is ridiculed in an extreme way. We can adjust the last example quite easily to demonstrate this.
Jack and Suzie are college students, and Alec is a well-known actor coming to the campus to play a role in the theatrical production at the college. This event has been arranged so the college theatre department can make money. Jack takes a dislike to Alec, but Suzie finds him fascinating. Alec finds himself fascinating. Slapstick is shown by the over-the-top acting that Alec does.
Jack has a difficult time wondering why Alec is famous. Suzie soon finds disenchantment with Alec because he is only concerned about himself. Jack and Suzie and the other theatre majors decide to take the actions of the play to the extreme to humiliate and humble Alec.
In a water scene, where Alec is supposed to pantomime having water thrown on him, real water is used. This drives Alec into a hysterical rage, and he chases Jack and Suzie on stage, off the stage, around the theatre, and out the theatre doors. Alec winds up accidently knocking himself unconscious. Jack states that the most natural acting that Alec has done is being knocked out.
Next, Jack develops a hair-brained scheme so the theatre department can make money. Jack and Suzie make a list of the wealthiest men and women in the area. They invite as many of these wealthy people in the area to participate in an auction. There will be five male winners and five female winners. The prize is that they win Jack and Suzie for a day to act as their slaves.
You can see that a farce has more of a story than slapstick comedy. The plot has an inner conflict of the protagonists, Jack and Suzie, needing money. This creates a story where college theatre students try outrageous ways to make money to save the theatre department. The story ridicules colleges, actors, and theatres in general. The actions of the characters are very slapstick with physical comedy throughout the movie.
Satire
The Merriam-Webster Dictionary defines satire as “a way of using humor to show that someone or something is foolish, weak, bad, etc.: humor that shows the weaknesses or bad qualities of a person, government, society, etc.”
Satire is subtler than farce or slapstick in the actions of the characters. The plot develops an inner conflict, but the story is more realistic and may, at times, not even appear to be a comedy.
In this example, the setting can remain as a college campus.
Jack and Suzie, once again, are college students. Alec, though, is the instructor, who has a drinking problem, and he is directing a class that Jack and Suzie have to take as a requirement of their theatre major. Alec tries to convince the students that there is no right or wrong way to direct, act, or design. In his mind, theatre is all done with emotion. If it feels right, then do it. In order to help them understand and develop their talents as directors, Alec gives the same answer to any question Jack and Suzie ask: “If it feels right, then do it.”
Jack struggles to try and comprehend what Alec’s statement means. He does not understand why he has to go through four years of college if he just has to recognize what feels right. Jack asks Alec for more of a discussion on what feels right. Alec then tells him, “You’ll know.” This frustrates Jack even more because it does not take four years in college to put to use nine words that do not mean anything specific in regard to studying theatre. He questions the college administration as to why they are paying so much for Alec. The college administration retorts that Alec is one of the best in his field. Jack states that Alec teaches absolutely nothing of any value. The administration states, “That shows how good he is; you do not even realize the education you are receiving.”
Defeated, Jack goes to see Suzie, his last hope. Suzie tells him not to be too quick to judge. Suzie states that she believes she understands what Alec is driving at with his ideas. Suzie tries to demonstrate the statements that Alec has mentioned. After a few hours Suzie becomes frustrated and states the both of them must go to see Alec.
After two hours with Alec, Jack and Suzie are delirious. Being delirious, they finally fathom what Alec means. They both run out of Alec’s house and down the street shouting, “We have identified what it is!”
From this discussion of the characters and story, physical actions do not enter as a predominant element that they do in straight slapstick or farce. The satire is an obvious ridicule of theatre as a major and the type of people in theatre.
A more subtle satire would be Jack and Suzie acting as a clique and by being prima donnas. They mock a new theatre major, Alec, who wants to do a good job. Alec starts to develop his talent under strenuous and often humorous situations with consequences to the amazement of Jack and Suzie. But then he realizes what he has to give up for it. He quits for his own self-respect.
The above are two demonstrations of satire.
The first example, depending on the treatment, could become either a farce, if Jack’s, Suzie’s, or Alec’s actions become too outrageous, exaggerated, and over-the-top, or it could become a satire. The line of demarcation between farce and satire are, as with anything that is analytical, left up to an individual’s judgment. When does extreme satire become farce? A good way to judge farce or satire is how much unrealistic physical comedy is in the movie.
Dark Comedy or Black Comedy
Dictionary.com defines dark humor or black comedy as “in literature and drama, combining the morbid and grotesque with humor and farce to give a disturbing effect and convey the absurdity and cruelty of life.”
Dark humor and black comedy are terms that make fun of or ridicule taboo topics like death. The characters are involved in a story that goes to the point of being grotesque and not being funny.
With this example of a college theatre as the setting, and the plot being the inner conflict of the main character, how can the characters and story become absurd, morbid, and grotesque when discussing the taboo topic of death? Quite easily actually!
Insecure about his acting ability and visibly showing this in public auditions, Jack does not obtain the role on stage that he desires, Henry V or “Hank 5,” which is Jack’s nickname for him. In order to relieve himself of his frustrations, Jack tortures and kills everyone who receives this part in the most brutally visual ways imaginable. He does this in hopes of eventually receiving this specific coveted role. Jack, though, is the only one who believes this role is so desirable and sought after.
Jack kills the first person who is given the role, Alec, by drawing and quartering him before he hangs him.
The second person to be given the role is Suzie, which really angers and infuriates Jack that a woman would get the role before him. This action adds absurdity to the story.
This is a dark humor movie rather than a serious movie because of the reasons, background, and extreme actions in the story. The characters act realistically based on their personalities, which are all unusual. The physical action is real so this scenario cannot be considered slapstick.
Screwball Comedy
This comedy sub-genre is named after a baseball pitch, the screwball, which was perfected by baseball pitcher Carl Hubbell in the 1930s. Screwball comedy only lasted from 1934, when the Great Depression was in full swing, to 1941, when World War II began.
Screwball comedy was based on reverse class snobbery where it is more noble to be poor than rich. The rich were portrayed as eccentric and wasteful fools. Romance is one of the key elements of screwball comedy. With the two classes of upper and lower or middle class working together, screwball comedies can be considered as recommending socialism. The story is a little different, but overall, it can be considered within the realm of satire because the current society was being ridiculed.
Screwball comedy also had the following attributes:
The poor and middle class would go to the movies to see the rich get their comeuppance. This is why movies were one of the few industries of the period that made a profit. People felt a passion of hate toward the upper class because of the mess lower classes assumed the upper class made of the economy.
Many of the most famous movie stars of the period appeared in screwball comedies.
People went to the movies to see the elegant clothes, cars, and furniture, so they could wish they had those items.
Any referral to a movie as a screwball comedy after 1941 is inaccurate, even if it is a re-make of a movie released during the 1934-1941 period. A re-make does not have the same relevancy, power, or passion as the original movie.
A contemporary screwball-type comedy generally is fast paced with an eccentric character, but it does not have the class snobbery. Any class snobbery in the movie does not have the contemptable hatred toward the upper class as it did these movies during the Great Depression. The emotional rage cannot be duplicated.
Romantic Comedy
Dictionary.com defines romantic comedy as “a light and humorous movie, play, etc., whose central plot is a happy love story.”
Romantic comedy is contained in most comedies as a sub-story, such as The Front Page, which has an underlying romantic story of Hildy wanting to marry his fiancée and leave newspaper reporting. However, the overriding story of the movie concerns reporters and editors doing anything in order to get the story.
Comic romance is a big element in screwball comedy also, but other story lines are more dominant. Can you think of a movie that has the primary story line as being a romantic relationship? If you can, how did you like the movie?
Comedy Conclusion
Comedy is varied and complex. You can see how the stories, along with the personalities and actions of the characters, change, developing different sub-genres of the comedy being expressed. All comedy stems from either slapstick or satire.
Let’s move on to a new genre.
Crime Genre
Staying with the letter “C,” let’s move on to the crime genre.
The Merriam-Webster Dictionary defines crime as “an act or the commission of an act that is forbidden or the omission of a duty that is commanded by a public law and that makes the offender liable to punishment by that law” or more simply “a grave offense especially against morality.” The definition gives us a lot to work with, so we will do our best to bring it into focus.
The first point is that every aspect of the crime genre is dramatic, so the elements are quite different than a comedy. The setting for crime genre can be any location in the world and any year, because crime is something that has always existed in society. We will try to narrow this down for our example.
The plot is an inner conflict for the criminal to succeed or for the “good guy” to succeed. The story is a series of developing incidents where the criminal or the “good guy” is the protagonist and a conflict has to be overcome. The characters develop from the story and plot.
Let’s demonstrate two examples with Jack being the protagonist in both situations. In the first situation, Jack is a criminal and the second one Jack is the “good guy.”
First situation: Jack is a nice, helpful individual at the beginning of the movie. He soon finds that he has to help a friend, Suzie, get out of a jam because she owes a lot of money to a gambling boss, Alec. Jack goes and begins to negotiate honestly in regard to paying Suzie’s debt. Alec laughs at him and is going to throw him out. Jack, even though he is a nice guy, has a very bad temper. This often is the situation in the crime genre. Jack becomes extremely angry with Alec laughing at him, and he kills Alec.
Alec’s men come in and Jack tells them he is their new boss. The men don’t like it, but they reserve any action for a later time. Suzie likes the new Jack and wants to be his girl. Suzie is aroused by the violence in Jack and cannot keep her hands off him.
Jack soon becomes more successful than Alec ever was, but he begins to become too egotistical. With his ego getting in the way, Jack makes a mistake when trying to take over a gambling casino. Jack is killed and the men kill Suzie. The most jealous, vindictive, right-hand man in the gang takes over the gambling empire.
Stories in the crime genre are often about people seeking power. Usually, the criminals want control over the city where the story takes place. Generally, they want to be in charge of the drug trade, gambling, liquor (depending upon the year), or they want to rise up in the family or gang. There are always periods of violent action with the protagonist trying to reach his/her goal.
Second situation: Jack is a police detective in a large city like New York City or Los Angeles. Jack is a hardworking, honest detective. He is dedicated to his job and his partner, Alec. Jack spends most of his free time with Alec and Alec’s family. Alec is murdered. Even though he wasn’t put on the case, because they were partners and friends, Jack spends his free time investigating who murdered Alec. During his investigation he meets Suzie. Suzie knew Alec and considered him a friend. Suzie asks if she can help with looking into the murder. Jack, after some convincing, agrees.
Suzie and Jack start to become close during the investigation, and Jack falls in love with her. This is often a foreshadowing as to how the story is going to end. After a few dead ends and blocked paths in the investigation, Jack picks up some information that leads him down an unsuspected path. Jack finds that Suzie was a little more than a friend to Alec, so Suzie has an ulterior motive for assisting Jack. Jack discovers that Suzie murdered Alec and was going to kill Jack, too. Jack arrests Suzie for Alec’s murder.
These are the elements and formats of the crime genre. The crime can be different than murder. Crimes encompass a wide variety of different actions. The main characters do not have to be crime bosses or police detectives, but they generally have a similar background. Very seldom do they lead a life like a factory worker or office employee. This is one reason why the crime genre is so popular. People want to watch characters that lead exciting lives different from theirs.
The stories in the crime genre are similar to the aforementioned two examples where the crime is more than a speeding ticket and provides an interesting and exciting story. The plot can be an inner conflict, once again, of the protagonist, and the setting is usually in the United States or Europe in modern times.
Western Genre
Because of the similarities between the Western and crime genres, I have included back-to-back discussions of the two genres.
The Merriam-Webster Dictionary defines Western simply as “of or relating to the American West.” Keeping this in mind, we will begin by discussing the setting.
The setting provides the major difference between the crime genre and the Western genre. Instead of the characters and story occurring in the 1930s or the 1990s, the time for a Western is in the early to late 19th century or anytime through the 1820s to 1890s. Once the 20th century arrives, except for the beginning years, the feeling of the Old West is gone, which brings up the other aspect of the setting that defines the Western genre. The Western genre takes place in the West. Depending upon the year, the West could be Ohio in the 1820s, Missouri in the 1850s, or Nevada in the 1880s.
The main character or protagonist is an individualist, who rides into town for a specific reason, or he may run into trouble while in town, or he may be hired to do something like blaze a trail West. The characters and the stories are straightforward. The interest is the developing story and the action-filled problems that the protagonist faces as he tries to accomplish what he set out to do.
The plot can still be one of inner conflict as the protagonist tries to accomplish the specific goal, quell the trouble in town, or overcome the obstacles of nature as the main character blazes the trail West.
An example of the Western genre has Jack being the individualist, loner riding into town. He has come to town to avenge the death of his partner. Outside of the setting, the same type of character and story could be used in the crime genre. While Jack begins to ask questions about what happened to his partner, he falls into the middle of a range war; a typical Western story, between two ranches over the grazing rights of land. Alec owns the one ranch, and Suzie (a woman) owns the other, which is a rarity in the West.
Jack gets to know Suzie as his inquiries continue. He begins a relationship with her. During the relationship, Jack gives Suzie a helping hand in the range war. Alec is totally evil, underhanded, and despicable in his actions. Westerns, even more contemporary ones, have an outright bad person like Alec. You can see this in crime genre movies also.
Jack defeats Alec in the range war, and in the process, finds that Alec also killed Jack’s partner. In the Old West, there can only be one climax to the story. Jack and Alec shoot it out; Alec is killed, and Jack and Suzie fall in love.
War Genre
The Merriam-Webster Dictionary defines war as “a state or period of fighting between countries or groups.” With this definition being direct, we can discuss the genre in the same manner. The war genre is straightforward because the movie is very limited in its parameters.
The setting and the year is very specific regarding the year and the location. If the movie takes place from the United States’ perspective, World War I would be from 1917 to 1918; World War II would be from 1941 to 1945; and the Korean Conflict, Vietnam War, Desert Storm, and other Middle East conflicts follow the same procedure. The locations would be an area where the war occurred or in the United States to concentrate on how the home front was coping.
The plot is the inner conflict with dealing with war. The characters and story are based on a battle, trying to obtain overall victory at some point of the war, dealing with losing, dealing with death, dealing with fighting, being a prisoner, or coping at the home front or a location where the fighting is not taking place.
World War II encompasses the war genre. Jack is a soldier, who is a married teacher with two children. He is drafted by the United States shortly after World War II started late in 1941. Jack was told by his wife, Suzie, not to volunteer for any extra missions so he could come home alive to his family when the war is over. Of course, this is not going to be true because a war movie has to have a daring mission.
After being in Europe for about a year and losing many battles, Jack becomes frustrated because he knows the war is not going to end soon. Suzie dreads each day because of the emptiness in her life without Jack. To her, each day never appears to end. She is stressed because she has a continuous challenge to make ends meet.
Jack and seven other men are given a chance to go on a dangerous mission to blow up a German stronghold and capture a high-ranking German officer. These men are asked to go on this mission because of their intelligence and personalities. If they succeed in this mission, the war will likely be over quicker than expected, because of the information they will receive from this German officer. Jack remembers that his wife told him never to volunteer, but he knows he only has once choice. He volunteers. Suzie gets a feeling of foreboding and is suddenly afraid something bad is going to happen. She starts to become distant to her friends and even her children.
Jack goes on the mission. Everything is timed perfectly. The fortress is blown up and the German officer is captured. However, the trip back to the Allied lines did not go as planned. Half the men are killed, Jack is wounded, and the German officer is killed.
Suzie’s feeling of foreboding becomes so great that, at one point, she passes out with anxiety. The Christmas holidays are near, and Suzie is persuaded to take the children to church. As the service begins, Jack walks into the church and joins Suzie and the children. The story ends happily, but with a cost. In order to give the story a more realistic feel, the protagonist is not totally successful with what he had set out to do.
Spy Genre
The Merriam-Webster Dictionary defines spy as “to watch secretly usually for hostile purposes” or “to search or look for intensively.” I want to give two short definitions to emphasize the spy genre because it is a combination of watching and searching, but I do not want it to get confused with the next genre of adventure.
The spy genre sounds like it could cross over to the previous genres already discussed. But only the setting and the plot can be standard. The setting could be the same as the war, Western, or crime genres, but it does not make it a war, Western, or crime genre. You have to remember that the story makes the genre because it controls everything else.
In the spy genre, the main character generally works under an assumed identity in order to find something or destroy something of harm controlled by a nemesis. As in past genres, the plot is the inner conflict of the protagonist. In this situation, he or she has a strong inner conflict to succeed at what he or she is assigned to act upon.
Thus, if the movie has any of the aforementioned characteristics but takes place during World War II, the movie is primarily a spy movie rather than a war movie. Remember, the setting does not determine the genre but the story does. The story is interconnected to the characters and the plot. The setting helps add the must-needed background and specificity to the movie, but it is not as interconnected as the other three genres.
In recent times, a male of the strong virile type plays the protagonist spy. So, we will demonstrate that this does not always have to be that way in a movie. We will take a woman, named Suzie, who is the spy protagonist. We will set the example during World War II. Unlike Jack in the war genre discussion, Suzie is chosen because of her background in languages and her photographic memory, giving her the ability to memorize lists of facts immediately. She is requested to go behind enemy lines as a civilian and obtain data that will debilitate the enemy thus giving the Allies the advantage and shortening the war by possibly years.
In order to be able to do this, and to prepare her mentally for the task, she is set to train for three weeks with an Army officer named Jack. Jack is very skeptical that Suzie will be able to pull the task off. Jack states that it is not because she is a woman, but the movie viewers know that her being a woman is exactly the reason.
Jack begins a rigorous training program just to say that he told her so. However, Suzie really masters everything Jack throws at her. After about a week, Jack sees this and starts to admire her strength and fortitude. Jack makes the training less rigorous because he only trains her to get behind enemy lines, get back to the Allied lines, and how to mentally survive torture. By the end of the three weeks, they begin to fall in love with each other, and Jack feels he should accompany her, but his command says that is impossible.
The time has arrived for Suzie to go. The French underground has managed to get her a clerical job where she can do some travelling including going to Normandy. Rather abruptly, Suzie plans a trip to Normandy. She studies the land and is able to secretly catch a glimpse of German maps showing where their military strength is in and around Normandy. Suzie rushes and gets the information off to the Allies before she is captured by the Germans. The Allies receive Suzie’s information, but they cannot help Suzie. The Germans find her guilty of being a spy and she is executed.
Can you see the difference between this example and the war genre example? Both have the same setting of World War II, but the spy genre example has a non-soldier searching for secret information, while the war genre had a group of soldiers going on a mission that was not secret. The war mission was behind enemy lines and in the war zone where the fighting was occurring. The spy genre does not occur in the war zone where there was fighting.
Do you see the differences in the stories?
The spy story has a lot less emotion and love between the main characters. The spy story has more suspense as Suzie is hunting for information. She is becoming involved in several tight situations where she barely misses getting caught by the Nazis. The war genre story has the one climatic battle that the whole conflict was moving toward.
Most of the time these two genres do not become this similar but these two examples make it easier to see the differences in the two genres.
Adventure Genre
The Merriam-Webster Dictionary defines adventure as “an undertaking usually involving danger and unknown risks” that is “an exciting or remarkable experience.” From this definition, you can see that adventure is an action movie that overlaps with the spy genre with danger, risks, and excitement.
Both the adventure and spy genres can have exotic settings. The stories are normally about a person or group of people searching for something. During the journey of searching, dangerous situations are overcome by the main characters. The protagonist may end up getting involved in fighting to overcome social or moral injustices in the exotic location where he or she has journeyed.
The difference between this genre and the spy genre is, once again, the story. The spy genre has a story where something is searched for secretively, and the information itself contains secret information. This story has suspense based on timing and near misses.
The adventure genre’s suspense is found in the action and the chance that the protagonist may get killed without the espionage. The protagonist is an adventurer rather than a government employee.
Being bigger than life, the adventure genre contains a lot of explosive action throughout the movie. Remember that the story treatment, character background, and character development are big differentiations and distinctions that separate genres. The plot and the setting are also different between genres, and are reflective of the story and the types of characters.
Science Fiction Genre
Science fiction is linked to the previous genres of crime, Westerns, war, spy, and adventure by the basic theme. However, the genre elements are totally different.
The Merriam-Webster Dictionary defines science fiction as “fiction dealing principally with the impact of actual or imagined science on society or individuals or having a scientific factor as an essential orienting component.” An example of science fiction is time travel, which has and is a popular topic.
Quite often, science fiction has a setting that takes place in the future. In this way, if the producer wants to comment on a particular problem in current society, the producer can set the problem in the future. The producer appears critical about the problem but not about the current society. The outcome of that problem, if it continues, shows how the future will look.
For science fiction, we can still stay with the plot of inner conflict, which can always be the plot, because a conflict is needed. The characters and the story can be the same as any other genre with variations, as we will demonstrate in the example.
In our example, Jack and Suzie, along with several hundred other people, are fed up with the crime and violence that exists where they live. No specific location is mentioned, so it can be anywhere in the world or universe.
In this movie, many of Jack and Suzies’ group are engineers who work endlessly to build several space ships that to travel to a new galaxy, away from the crime and chaos. Researchers in this group toil endlessly to find a new galaxy that is livable for humans. Together they all dream of pioneering and developing this new world so there is no violence and everyone can live in harmony.
By seeing the people’s action of building space ships, the audience learns that the time is the future.
The space ships are finally finished and they are sent off. They find and arrive in the new world that is named New Earth. The people set up a colony and draft laws so there is no anarchy. Everything is great for two generations. The people live in harmony and enjoy each day to the utmost.
However, one day, someone is found dead and robbed. Everyone is left shocked. Because so much time has passed without violence, the police are unprepared. But they review the crime scene, and conclude that it was murder.
Since they have never investigated a murder, they are unsure what should they do to find the murderer and how should they to go about doing it. They arrive at a procedure and find the murderer. The murder was an accident. The murderer was surprised as everyone else. The people realize a murder or accidental death can always happen, so the society has to be prepared and set up to handle it. Even though the story is fantastical in many ways, it can still make comments and raise questions about society and morality.
Science fiction genre, like any genre, can cross over at some point or points to another genre. This example crossed over to the crime genre. However, to determine the main genre, review the story, characters, plot, and setting together. In this situation, these elements are most geared toward the science fiction genre.
Fantasy Genre
The Merriam-Webster Dictionary defines fantasy as “something that is produced by the imagination: an idea about doing something that is far removed from normal reality.”
In other words, a fantasy movie has no limits. The setting could be anywhere at any time with characters who appear and act in any way the script writer wants. The story could be about anything. So let’s stick with one constant, the plot. The plot will be inner conflict.
According to Wikipedia, fantasy stays away from scientific and macabre story aspects, so it does not become a piece of science fiction or horror. You can see how all three genres: science fiction, fantasy, and horror are similar but different.
What would a fantasy example be like?
A group of misfits are given a task by a wizard to find the perfect person. They must do this in order to save their friend, who is terminally ill and will die shortly. The wizard tells them that their friend is not terminally ill but under an evil spell that he can break. The perfect person is the wizard’s fee for breaking the spell. The characters are Jack, Suzie, and Alec, who are misfits because they are the outcasts from their home village, which is in a fictional country. The wizard gives them a clue to look where no one has looked or would think of looking.
Jack, Suzie, and Alec think that the perfect place to find the perfect person is in a graveyard because nobody would think of looking there. But how would the perfect person appear in a graveyard? After searching through several cemeteries, they become frustrated because they find nothing unusual and do not know what the wizard was talking about. They finally find a cemetery where they can enter a new world that is built upon their imaginations. Using their imaginations mean, as they discuss a trait or physical appearance, they can build the person using their minds. What they imagine can become reality.
Using their imaginations, they begin to discuss what the perfect person would look like and act. What would the person’s personality be like? They cannot decide because the traits that they imagined as a perfect person are foreign to them. Finally, they start talking about themselves, and what they like and do not like.
After a lengthy conversation that continues for days, Suzie stands up and yells that she has the answer. She states they should make three lists of their best physical and mental traits. That will be the perfect person. The perfect person is within them as it is within all people. They compile the perfect person using their imaginations and take it to the wizard.
Suzie explains to the wizard with the assistance of Jack and Alec that the perfect person was within them as it is within all people. The wizard states that they found the answer to the clue. As such, they are also able to break the spell over their friend. The spell is broken, and the four leave and live happily ever after.
You are only limited by your imagination. A wonderful theme can come from any genre.
Horror Genre
The Merriam-Webster Dictionary defines horror as “the quality of something that causes feelings of fear, dread, and shock: the horrible or shocking quality or character of something.” A horror show is “something that is difficult to deal with or watch because it is so bad, unpleasant, etc.”
The setting regarding where the movie takes place can be instrumental in a horror movie. Many times, horror movies take place in a historical area with big, old houses that hold many secrets. Secrets provide the basis of a story as the house is supposedly haunted because something gruesome happened there many years ago. However, the setting may not be unusual, but it can be a typical small town or city just like the one where you live.
The plot, once again, is inner conflict. The main character, Suzie, inherits the house, and she is determined—to the point of becoming obsessed—to prove that there is no such thing as a haunted house. However, she takes her boyfriend, Jack, with her to the house. After they become frightened by unearthly occurrences in the house, Jack asks his friend, Alec, to join them at the house to find a solution to what is going on.
Alec states that in order to make it a clean, healthy house again, they have to discover the problem and solve it. In order to do this, Alec recommends doing a séance. The three of them enter a room late in the evening and try to contact a spirit to identify the problem. They find, at one point, that the house was owned by a slave trader or human trafficker. Down in the basement, many bodies were buried.
Suzie cannot stand thinking that a relative was a human trafficker and nothing can really be done to solve this problem. The house was owned by an evil man who is suffering in the spirit world because of his past actions. Jack thinks that the only cure to these past heinous actions is to burn the house down, which would cremate the bodies that were buried in the basement and possibly put them at peace.
Suzie does not agree with that action, but Alec agrees with Jack in order to find a cure for the haunting. Possibly, after the burning, Suzie can build a different house. Suzie starts to act in an irrational manner, like she is becoming her past relative, who was the slaver. Alec and Jack burn the house. Suzie becomes completely enraged and has to be restrained until the house is completely burned down.
Once the house has finished burning, Suzie no longer acts like she is possessed. The whole area becomes quiet. Suzie speculates that they just need drive away from it. The three of them drive away.
The horror genre brings fear, and fear generally brings thrills and suspense. With a suspenseful scene, people like to scare themselves. The theme can always be “search for the truth,” rather than “do not be afraid of the unknown.”
Drama Genre
If a movie does not fit in one of the aforementioned genre categories, then it is a drama.
The Merriam-Webster Dictionary defines drama as “a play, movie, television show, or radio show that is about a serious subject and is not meant to make the audience laugh” and “a composition in verse or prose intended to portray life or character or to tell a story usually involving conflicts and emotions through action and dialogue.”
The four elements of the drama genre have to be serious, portray life, tell a story, and the characters have to have an inner conflict that brings out emotions at different times throughout the story. These are all points that we have been discussing with the other genres. The characters and the story are general, like everyday people and situations.
Somebody is dying, something has to be obtained, or something has to be accomplished are the three common stories for dramas. Jack is an accomplished musician, who is going to be playing at Carnegie Hall, and he finds out that he has a fatal illness after passing out during a rehearsal. Or, Jack lived in the slums and a teacher noticed something in him that could be cultivated. Jack becomes a renowned doctor, scientist, or mathematician. The movie covers Jack’s obstacles to achieve what is necessary for him to being on the road toward a renowned career.
Or, Suzie risks everything to find a cure for a disease that is killing many thousands of people on a Caribbean island. The viewer often knows what is going to happen but often the characters and their development is what makes a drama interesting.
The story is relatively simple, the plot is inner conflict, and the setting is inconsequential because the characters make the movie.
Did you find Cyrano de Bergerac to be a drama? Cyrano de Bergerac had a firm foundation in unrequited love, a very romantic element in the story. But Cyrano’s inner conflict of his feelings of inadequacies in his personal appearance, while being overconfident in other areas, present love in a dramatic genre.
Action, Thriller, Suspense Thriller, Biography, Film Noir, Neo Noir, and Mystery
Action, thriller, suspense-thriller, biography, film noir, neo noir, and mystery are terms that are often referred to as different genres. However, none of these are genres. They do not contain just the four basic elements of a genre—no matter how much people insist that they do. They contain the genre elements and other elements, like cinematography, that are not part of a genre.
Writers, educators, critics, historians, and others have stated that the above terms developed into being named a genre and that they can be accepted as a genre over time. How many of you heard or read the terms action genre, film noir genre, or suspense thriller genre? Just because they have been referred to by these terms, over the years, does not make them honorary genres. These terms, by themselves, still have the same meaning even if they have been named genres.
Most of these terms refer to specific cinematography when shooting the movie, or they refer to the way the movie was edited.
Action, thrillers, and suspense thrillers all have similar types of action in them. Adventure, spy, crime, war, and Westerns could all be action movies or thrillers or suspense thrillers. Action, thrillers, and suspense thrillers do not touch upon the four elements that make up a genre.
Film noir and neo noir are predominantly crime movies that have certain cinematography. They overlap both in the construction and production aspects of making a movie.
Film noir means “black film.” Film noir has many scenes occurring at night with many gritty, seedy city shots. The character types in film noir are loners and schemers, but they are reflective of the types of characters in crime movies.
Detour is a good example of film noir regarding the characters like Al and Vera. The voice-over narration of the protagonist describing the forward action, using black and white film, and many scenes occurring at night are examples of film noir. But voice-over narration, being in black and white, and a lot of the movie occurring at night does not determine the genre. The jaded characters, story, and plot of murder defines the movie as a member of the crime genre. The night scenes and voice-over narration are a directorial style. These decisions are characteristics that distinguish it as film noir.
Neo noir is the new noir for the later 20th and 21st centuries when most movies are made in color. The genres could be crime, science fiction, or drama but the cinematography is dark, gritty, and symbolic, similar in many respects to film noir.
Mystery refers to the way the story is shaped. Most mysteries are concerned with who stole something or who murdered someone. Most mysteries belong to the crime genre where the story and the editing keep the audience guessing until the final minutes of the movie.
Biography refers to a nonfiction movie that is about a historical or living person. The background, character, and setting of the movie may determine what other genre a biography might belong to. If the person is a war hero, the movie would be of the war genre; if the person was a criminal or detective, the movie would fit the crime genre, and so forth.
Documentary
Documentary, according to Dictionary.com, refers to movies and television features based on or re-creating an actual event, era, life story, etc., that purports to be factually accurate and contains no fictional elements.
Sheila Curran Bernard, author of Documentary Storytelling, defines documentaries as:
Documentaries bring viewers into new worlds and experiences through the presentation of factual information about real people, places, and events, generally — but not always — portrayed through the use of actual images and artifacts. But factuality alone does not define documentary films; it’s what the filmmaker does with those factual elements, weaving them into an overall narrative that strives to be as compelling as it is truthful and is often greater than the sum of its parts.
From these two definitions, documentaries are a separate movie entity that is unto itself.
Final Thought
We covered a lot of area in discussing different genres. Even though genres are only considered labels for movies, the four elements of a genre are the basis of any movie. Besides categorizing, genres indirectly shape the movie’s characters and story.
Character, story, plot, and setting are how a movie is constructed. From this construction, the specific theme that is created by the screenwriter and the director can be realized and understood by the viewer.
The other chapters in the construction of a movie go into more detail and dissect these elements in order for a better understanding of the scope of these elements and how the theme of the movie is realized.
Further Viewing
With the completion of this chapter, the movies to watch that that are excellent examples of different genres are:
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https://www.splingmovies.com/2022/07/movie-review-the-card-counter/
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en
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Movie Review: The Card Counter
|
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[
"Spling"
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2022-07-06T12:25:42+00:00
|
The Card Counter recalls 21, a Kevin Spacey casino heist film based on the true story of the MIT Blackjack
|
en
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SPLING
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https://www.splingmovies.com/2022/07/movie-review-the-card-counter/
|
The Card Counter recalls 21, a Kevin Spacey casino heist film based on the true story of the MIT Blackjack team who used their mathematics and card counting skills to rig the system in their favour, winning millions in Las Vegas. While the title, method and casino backdrop draw obvious similarities, the films are worlds apart in terms of accessibility and execution. The Card Counter speaks to William’s attempts to start over, using his learnings from prison to rack up some cash. The ex-military interrogator wants to make peace with his past, having done his time and ready to move on. However, when a revenge-fueled Cirk (“Kirk with a C”) arrives on the scene with a headful of nightmares William takes him under his wing in the hopes of curtailing a murder he’d have willingly carried out himself.
Oscar Isaac is a brooding actor, able to summon a rich intensity to his performances, not unlike Al Pacino. While a Scarface remake has been in the pipeline for some time with Diego Luna attached, you can imagine Isaac’s Cuban heritage and unique abilities as an actor would also make him a forerunner to play the besieged kingpin, Tony Montana. In The Card Counter, he honours a pitch perfect casting decision with one of his most powerful and well-balanced lead performances to mimic the cinematic intensity of Schrader’s experimental film about a gambler haunted by the ghosts of his past.
Isaac isn’t alone, supported by Tiffany Haddish, Tye Sheridan and Willem Dafoe. American comedian turned actor, Tiffany Haddish is an inspired casting call, having established herself first and foremost in the comedy genre. Much like Robin Williams many stand ups actually do what they do to hide, leverage or exorcise their dark side, which often makes them surprisingly adept at drama too. Haddish can act and has presence but unfortunately is miscast opposite Oscar Isaac. It’s a curious on-screen pairing, which comes to serve as an expression of writer-director Paul Schrader’s intriguing yet incompatible vision.
Tye Sheridan is a rising star who first made a name for himself as a child actor in films like Mud and best known for Joe and Ready Player One. Now well into his 20s, Sheridan has successfully made the transition into acting in his adulthood much like Jamie Bell and is distinguishing himself with a string of solid performances. He’s no slouch in The Card Counter able to keep up with Isaac. Willem Dafoe is a fearless actor, best remembered for Platoon yet conjuring up magic as a villain in Shadow of the Vampire and more recently The Lighthouse. In spite of limited screen time, his Hollywood history anchors him in a typically adept performance from the screen veteran.
“My game is usually Blackjack…”
Schrader is best known for writing Taxi Driver, but he’s had something of a renaissance as a writer and director with morality dramas like First Reformed. The Card Counter forms a part of this strain, which continues to wrestle with the quagmire of morality that lies in the balance for its characters, who are pushed and pulled to breaking point. This is a challenging film experience, which examines a man’s tormented past, path to redemption and the invisible forces that threaten to derail him. Using the perpetual night of the casino world, its lights, promises, flash and temptation, this becomes the playground for an ex-con on the comeback trail.
The Card Counter is tonally ambitious, experimental in its undertaking and while it falters, manages to pull the proverbial rabbit out of the hat on several occasions. Echoing Sound of Metal for its pure cinema, intensity and even soundtrack it attempts to pair haunting coming-of-age gambler drama and prisoner rehabilitation with a hitman temperament. It’s an intoxicating balancing act, dreaming up some dizzying moments from unsettling fish eye lens Guantánamo Bay torture to one-on-one dialogue that recall First Reformed and Funny Games style violence.
Together with its seesawing tone, stop-start pacing and attention-grabbing directorial decisions, we get a twisted chronicle of a man’s quest to stave off revenge in order to reinvent himself. Oscar Isaac’s considerable performance is the main reason to see The Card Counter, which is definitely not an all-play. Paul Schrader keeps you guessing at every interval, which fosters an unsettling level of uncertainty that will attract or repel audiences. The Card Counter is as strangely compelling as it is flawed and while there are echoes of the much more refined First Reformed, it only offers glimpses of its true potential.
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https://www.moviemaker.com/poker-movies-2967/
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en
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MovieMaker Magazine
|
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2004-01-28T00:00:00-08:00
|
What?
|
en
|
MovieMaker
|
https://www.moviemaker.com/poker-movies-2967/
|
When Jennifer Wood, the managing editor of MM,
asked me to come out of my self-imposed retirement from the “Home
Cinema” column to write an article for the 10th anniversary issue
of this magazine, my first thought was, “Great! I’ll write that
article on the 10 best DVD releases of the decade or a rundown
of my favorite film of each year of MovieMaker’s existence.” But
the assignment she offered was considerably less sweeping: poker
movies.
What?
At first this seemed much too puny of a sub-genre
to be worthy of a 10th anniversary column. But when I began thinking
of the
parallel between playing poker and publishing an independent magazine,
the idea gelled. Both pursuits involve tremendous risks of money
and ego; the up-then-down rhythms of a single night of poker-playing
mirror the month-to-month financial rollercoaster of putting out
an indie mag. In a game of five-card draw, your winnings depend
on the strategy and luck of the other players, while in printing
a magazine you’re at the mercy of fickle advertisers and whether
the competition beat you to an exclusive story. Also, like a good
run at the tables the night before, you’re only as good as your
last issue. When you’re talking about Tim Rhys, the publisher and
editor-in-chief of MM, he’s a gambler who knows when to hold ’em
and who has never had to fold ’em.
So, okay… poker movies. Of course, when I really
put my mind to it, I could come up with very few films that were about poker.
The 1998 release, Rounders, caught the arcane lingo of the
table, but John Dahl’s direction was clumsy and the story implausible,
particularly when the John Malkovich character so obviously gave
away his bluff. And who could buy the pre-adolescent Matt Damon
as a card shark?
I remember a film called 5 Card Stud,
which offered the minor shock of Dean Martin’s lily-white ass,
but very little card playing. Or am I thinking of The War Wagon and
Kirk Douglas’ lily-white
ass? Both films seemed to turn up on the ass end of drive-in double
bills I attended as a kid.
Tombstone was of course about the infamous
Earp-Clanton feud, with almost the entire cast decked out in
huge freakin’ moustaches
and scarves by Versace. But Val Kilmer shines as the clean-shaven,
tubercular Doc Holliday: a Latin-spouting aesthete and poker player
extraordinaire. Anybody, however, who has tried to play a hand
of Spit in the Ocean after their sixth Jack Daniels would scoff
at the card scenes: if Holliday was really the raging drunk Kilmer
portrays him to be, he wouldn’t be able to tell a full house from
an Airstream trailer.
Lock, Stock, and Two Smoking Barrels contained a thin card-playing
subplot, but the movie was meretricious and dumb. There was a funny
poker scene in Stranger Than Paradise, but all I can recall
from it was the mighty bulk of the late Rockets Redglare filling
up a corner of the frame.
If Holliday was really the raging drunk
Kilmer portrays him to be, he wouldn’t have
been able to tell a full house from an Airstream trailer.
Ocean’s Eleven included a scene where Brad Pitt is teaching
the finer points of poker to a table full of young Hollywood actors
playing themselves. As with nearly everything Pitt has done in
his career, the bit would have played better had he let his movie
star guard down just a bit more.
Hal Ashby’s forgotten Lookin’ To Get Out could
just as well be the inscription on the late director’s headstone. This
ragged study of two losers who con their way into a Vegas hotel
is sad and scruffy and unsatisfying, but Jon Voight and Burt Young
manage to convey the self-delusional bravado of all those fringe
characters you see wandering the city’s boulevards.
More searching on Google turned up other titles: A Big Hand
for the Little Lady. A Man Called Sledge. Run. A short
scene in John Ford’s Cheyenne Autumn. And, of course, Maverick,
a film I’ll admit to not having watched but scanned. Both
the estimable Time Out Film Guide and the more plebian Leonard
Maltin’s Movie and Video Guide placed Maverick somewhere
on the scale between “lackluster” and “lackadaisical.”
Finally, I came upon the Web link for Lesbian
Strip Poker Pictures. I’d still be surfing that one if it wasn’t for the lure of the
large fee I’ll receive for writing this article.
There are a few films that explore the interrelationships and
psychological issues of gambling, some of them memorable: California
Split, one of Robert Altman’s small but elegiac pictures from
the ’70s, features George Segal and Elliot Gould as a couple of
soup-stained-tie casino vagabonds. These are guys who’d rather
use their downtime to play Keno than to, say, wash up. There’s The
Gambler, with James Caan’s near-existential portrait of a man
addicted to the pain-pleasure principle of winning and losing.
And Scorsese’s overlooked masterpiece, Casino, nailed the
authentic casino atmosphere—the marathon of night, noise and lights—better
than any other film. Let It Ride featured Richard Dreyfuss
as a compulsive gambler having the luckiest day of his life at
a Florida racetrack. This may have been one of Dreyfuss’ first
post-coke addiction movies—but he was still great. Hard Eight,
Paul Thomas Anderson’s first film, took a downbeat look at lowbrow
gamblers in Reno.
I happen to have lived in Reno for six months
back in 1981. One night I came up $200 short on my apartment
rent, due the next day.
With $24 dollars in my pocket, I started playing blackjack at 9:00
p.m. and left the tables at dawn with $260. Although it was chump
change, I’d experienced the electric surge a gambler feels when
well-placed betting morphs into a streak. That electricity is harder
to capture within the architecture of a game of seven-card stud.
But for the poker aficionado, or even the casual spectator—and
there seem to be a lot of you out there, judging by the surge in
ESPN, Travel Channel and Bravo broadcasts of high-stakes poker
action—here are a few worthy titles that due justice to the game:
The Sting (1973, George Roy Hill)
There is really only one card game in this
picture, but it is the “hook” which catches the “mark,” Robert Shaw’s
arrogant gambler, and kicks the whole plot into gear. By the
time con artists Paul
Newman, Robert Redford and their band of merry tricksters are finished,
Shaw is out a cool half-million. The movie is brisk and artificial.
The sets appear to be deliberately made from recycled, backlit
props and the intertitle cards that announce the plot turns—“The
Set-Up”, “The Wire”—clunk up the action. But Newman and Redford
are immensely likable, reminding us that buddy movies work best
when the stars and the story are both smart and amiable. In the
high-stakes poker game scene, Newman pretends to be a drunken buffoon
who out-cheats Shaw by switching cards on the big hand. The scene
is nicely staged, but I wished it had revealed how he made the
swap.
House of Games (1987, David Mamet)
A game of five-card draw also gets things going
here, and everything is revealed. That’s the fun in this mind game of a movie, a classic
Mamet-ian exercise in man-woman verbal and sexual jousting. Lindsay
Crouse plays a best-selling author and psychologist trying to help
a patient who says he’ll be killed if he doesn’t pay off a gambling
debt to Mike (Joe Mantegna), a con artist who hangs out at a place
called the House of Games. Crouse is attracted to Mike and his
profession, and she and we get a crash course in the con. Although
things end up bloody, the poker game that hooks Crouse is superb
theater.
When Crouse sees liquid leaking out of the
gun that one of the players (Ricky Jay) is using to threaten
her, she realizes it’s
a water pistol and she’s being had. When Mantegna chides Jay for
putting water in a perfectly fine replica of a real pistol, Jay
defends himself by saying, “I’m not going to threaten someone with
an empty gun!” It’s lines like that one and this—“I’m from the
United States of Kiss My Ass”—that make House of Games a
literate delight.
Kaleidoscope (1966, Jack Smight)
Somebody on the director’s creative team discovered a new kind
of kaleidoscopic camera filter and decided to make a film around
it. That’s the feel of this swinging ’60s, artsy-smartsy, comedy-drama.
It teamed transatlantic hipsters Warren Beatty and Susannah York
in a story about a playboy who comes up with what turns out to
be an ingenious plan to bilk a Monte Carlo casino: he breaks into
the factory that makes the playing cards and marks the photographic
plates so he can “read” the decks. The cards are shipped off, he
shows up at the tables and wins big. He’s caught (although we’re
not sure how) and forced by Scotland Yard to play a big stakes
poker game against a narcotics smuggler using the marked cards.
But when the decks turn out to be old, unmarked ones, Beatty
must use his wits instead of deception to win. The movie is insufferable,
but it’s almost worth watching just for the big moment when the
cards are revealed (a must-have staple of every poker film) and
Beatty’s priceless reaction.
The Cincinnati Kid (1965, Norman Jewison)
This is the granddaddy, the Mona Lisa, le grand fromage,
of poker movies. Jewison took over for Sam Peckinpah, and the movie
could use more of Sam’s anachronisms and less of Jewison’s clichéd
sentimentality. But this is compensated for by the presence of
two of the finer vixens of the New Hollywood, Ann-Margret and Tuesday
Weld—two beauties who make Cameron Diaz and Gwyneth Paltrow look
like anorexic game show models.
There is also fine talent behind the camera. The
New Orleans location photography by Philip H. Lathrop is first-rate,
the script is by Terry Southern and Ring Lardner Jr. and Hal Ashby—who
started out as an editor—deftly cuts between the banal romantic
scenes and the more impressive poker sequences.
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https://www.digitalspy.com/movies/a621578/the-gambler-review-mark-wahlberg-isnt-playing-with-full-set-of-cards/
|
en
|
The Gambler review
|
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[] |
[] |
[
"Jessica Lange",
"John Goodman",
"Brie Larson",
"Michael K Williams",
"Mark Wahlberg",
"Thriller",
"Crime"
] | null |
[
"Stella Papamichael"
] |
2015-01-22T09:30:01+00:00
|
Mark Wahlberg isn't playing with a full set of cards in this thriller from Rupert Wyatt.
|
en
|
/_assets/design-tokens/digitalspy/static/images/favicon.b8735b8.ico
|
Digital Spy
|
https://www.digitalspy.com/movies/a621578/the-gambler-review-mark-wahlberg-isnt-playing-with-full-set-of-cards/
|
Director: Rupert Wyatt; Screenwriter: William Monahan; Starring: Mark Wahlberg, Jessica Lange, John Goodman, Brie Larson, Michael K Williams, Alvin Ing, Anthony Kelley; Running time: 111 mins; Certificate: 15
Crime pays but blackjack most certainly doesn't in The Gambler, a so-so existential thriller based on the cult '70s film starring James Caan. Mark Wahlberg doesn't look too comfortable in those hand-me-down shoes, or with the tousled hair that is supposed to imply hours spent scratching his head over thoughts of his own mortality and the complete works of William Shakespeare.
He is no-one's idea of a literature professor and yet, that's the day job of James Bennett, whose nights are spent in high-stakes gambling dens run by Korean gangsters. The joy of winning is always short-lived because his next move is an all-or-nothing bet that leaves him with, guess what - nothing, except the threat of imminent death. It's this compulsion that tips the film into Albert Camus territory (he cites The Outsider in one of his lectures) because Bennett doesn't care whether he lives or dies, feeling his life is meaningless anyway.
Wahlberg can deliver a soliloquy on life as a game of chance with rat-a-tat rhythm, but he walks and talks like he's too cool for school, never properly conveying the deep well of angst that he keeps banging on about.
Jessica Lange provides the only hot-blooded turn as Bennett's mother, a formidable matriarch who has survived James's father and holds the keys to a sizeable family fortune. It's a terrible burden because she struggles to say no when the prodigal son comes cap in hand for upwards of a quarter-of-a-million dollars owed to Korean kingpin Mr Lee (Alvin Ing) and a good old-fashioned gangster who uses the King of Spades for a business card (Michael K Williams, Omar from The Wire).
In accordance with a standard formula, Bennett has seven days to pay up, or else... except that having little regard for his own life changes the stakes. British director Rupert Wyatt (Rise of the Planet of the Apes) keeps upping the tempo with fast cuts and bloody fistfights, but unfortunately he doesn't present a good enough case for Bennett to keep breathing.
That's partly miscasting. Wahlberg can deliver a soliloquy on life as a game of chance with rat-a-tat rhythm, but he walks and talks like he's too cool for school, never properly conveying the deep well of angst that he keeps banging on about.
John Goodman rivals him with some philosophical musings of his own, playing the veteran wise-guy whose untouchability is visualised in semi-nakedness at a sauna where he considers a deal to consolidate Bennett's debts. This is another bad move, but the vicious circularity of Bennett's problem is the essence of the story.
Still, it's hard to manage for Wyatt without lapsing into monotony. A get-rich-quick scheme that puts one of Bennett's students at risk (Anthony Kelley) throws a spoke in the wheel but it comes too late in the day, while his sterile romance with teacher's pet Amy (Brie Larson) is an afterthought.
Eventually, there is a break in the cycle, but when it does occur, that too feels like an empty gesture designed purely to try and satisfy a mainstream audience. The original film wasn't a box office hit, perhaps because there was no compromise at the end. At least that was staying true to the character, whereas this version (that credits original writer James Toback) is likely to falter mostly because Wyatt bet on the wrong horse.
|
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https://canadascreens.ca/best-gambling-movies-about-poker/
|
en
|
The best gambling movies about poker
|
[
"https://canadascreens.ca/wp-content/uploads/2021/08/logotype.png"
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[
"https://www.youtube.com/embed/kGWgHKHBWm8?feature=oembed",
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[] |
[
""
] | null |
[
"Sarina Montague"
] |
2021-03-26T14:07:09+00:00
|
The best movies about the game of poker. Lock, Stock and Two Smoking Barrels - 1998. Lucky You - 2007. The Great Game - 2017. Maverick - 1994. The Cincinnati Kid - 1965. Poker Night - 2014.
|
en
|
CanadaScreens & Casino
|
https://canadascreens.ca/best-gambling-movies-about-poker/
|
Finally a ranking of the best poker movies, all in our ultimate Top 6! Whether you’re a poker fan or just a thrill-seeking moviegoer, this list will inspire you to have many great nights out.
Lock, Stock and Two Smoking Barrels – 1998, United Kingdom
Guy Ritchie’s first feature film, Lock, Stock and Two Smoking Barrels is Jason Statham’s film debut. The 21-year-old British actor plays the role of Bacon. Along with his buddies Tom and Soap, Bacon tries to raise 100,000 pounds on various gaming tables to finance Eddy, who is considered one of the most talented poker players of his generation.
The goal – to participate in an exceptional game that will eventually turn out to be a setup by an old enemy of Eddy’s father. The young player finds himself in a perilous situation to say the least: he must find a way to pay back this swindler within a week or risk having his fingers cut off.
What follows are improbable and violent adventures that may remind some people of Snatch, although with less madness, humor and successful direction.
Lucky You – 2007, USA, Germany
Walking the casinos of Las Vegas where he is well known, Eric Bana (Troy, Munich), as Huck Cheever, is what we call a gambler. He wins a lot and loses everything in the process.
Nevertheless, he seduces the beautiful Billie Offer, played by Drew Barrymore (E.T., Scream, Charlie’s Angels), and introduces her to the joys of being a professional poker player. The film ends at the end of the main event of the 2003 World Series of Poker.
Emphasizing the romance of the story more than the poker, Lucky You used Doyle Brunson as a technical advisor, which is reflected in the quality and verisimilitude of the hands played, which is rarely the case in movies.
The Great Game – 2017, USA, Canada
Based on the true story of Molly Bloom, The Great Game looks at the sultry journey of this former ski champion turned organizer of very private, very expensive and mostly illegal poker games in the mid-2000s.
First film directed by Aaron Sorkin, the screenwriter of Steve Jobs and The Social Network known for his very dense writing, Molly’s Game stars Jessica Chastain, in the role of the one that the press in the United States had nicknamed “the princess of poker”, alongside Kevin Costner and Idris Elba.
Before being arrested by the FBI in 2013, Bloom ran the most exclusive underground games on the planet, which brought together rich businessmen, some champions of the professional circuit and especially sportsmen and Hollywood stars – the names of Tobey Maguire, Leonardo DiCaprio or Ben Affleck have been mentioned.
The entrance fees for these parties were reportedly as high as 250,000 dollars. The Great Game tells the story of how this young woman managed to set up an ultra-selective meeting in Los Angeles and then in New York, starting from nothing and describes her descent into hell.
Maverick – 1994, USA
Another story featuring brigands, Maverick focuses on the character of Bret Maverick, a professional poker player who is looking to finance his participation in a big tournament at any cost. In this quest for money, the protagonist will face many obstacles, more or less grotesque, threatening his life and his dollars.
On his way, he crosses the path of the beautiful Anabelle Blansford, an unscrupulous gambler who makes his head spin. A good mix of humor and action in good old western settings and landscapes (the film was nominated for an Oscar in the best costumes category). In this comedy, Danny Glover makes a kind of cameo in a robbery scene where his reunion with his Lethal Weapon buddy is surprising to say the least.
The Cincinnati Kid – 1965, USA
In the 1930’s in New Orleans, Eric Stoner, nicknamed the Cincinnati Kid, is an occasional poker player who already has many victories. When an undisputed poker master comes to town, his manager – Shooter – organizes a tournament.
A very long game of Stud 5 (also known as the… Kid) is about to begin. We won’t tell you more, but you should know that The Cincinnati Kid is regularly ranked among the best Steve McQueen movies!
Poker Night – 2014, USA, Canada
Jeter, a young police investigator joins much older colleagues for their usual poker game in which they confide some of their experiences to young Jeter.
But one night, after one of these poker nights, Jeter and his new girlfriend Amy are kidnapped by a psychopathic madman. Only his ingenuity and the clues he finds in each of his fellow cops’ stories will allow him to escape and unmask the culprit.
|
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https://fault-magazine.com/2022/09/gambling-culture-portrayed-in-21st-century-films/
|
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|
Just a moment...
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[
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] | null |
[] | null |
en
| null |
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https://time.com/6241419/babylon-true-story/
|
en
|
The True Story Behind Babylon
|
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] |
[] |
[] |
[
""
] | null |
[
"Megan McCluskey"
] |
2022-12-23T12:00:05+00:00
|
Damien Chazelle's new Hollywood epic tells the story of a debaucherous Tinseltown during the transition from silent films to talking pictures.
|
en
|
/favicon.ico
|
TIME
|
https://time.com/6241419/babylon-true-story/
|
What do public orgies, mountains of cocaine, and a party-crashing elephant have in common? They all make an appearance in the first 20 minutes of Damien Chazelle’s new movie Babylon.
In the three-hour-plus Hollywood epic, out Dec. 23, writer-director Chazelle (La La Land, Whiplash) paints a depraved picture of late 1920s Tinseltown—and he wastes no time setting the scene for what’s to come. Before the title card ever appears on screen, a lengthy opening sequence depicting a drug- and sex-fueled rager at a desert mansion introduces the movie’s main players: wide-eyed industry hopeful Manny Torres (Diego Calva), brazen wannabe starlet Nellie LaRoy (Margot Robbie), and seasoned silent-film superstar Jack Conrad (Brad Pitt).
From there, Babylon takes viewers on a rip-roaring ride through the last days of the silent film era. Beginning in 1926 and ending in the early 1930s (with an epilogue set some years later), the movie centers on the industry’s tumultuous transition to talking pictures. But was the Los Angeles of that time period really as uninhibited and debaucherous as Babylon makes it seem?
“I wanted to look under the microscope at the early days of an art form and an industry, when both were still finding their footing,” Chazelle said in commentary included in the film’s production notes. “And, on a deeper level, I liked the idea of looking at a society in change. Hollywood underwent a series of rapid and at times seemingly-cataclysmic changes in the 20’s, and some people survived, but many didn’t. In today’s terms, we’d call it disruption. You look at what these people went through, and it gives you a sense of the human cost that accompanied the kind of ambition that attracted so many people to Los Angeles at that time. There’s a darker side to the story of that transition than I’d seen before.”
Perhaps unsurprisingly, Babylon has been met with polarizing reviews from critics. While some have praised Chazelle for his ambition, others have rebuked the film as over-the-top and tasteless.
“Chazelle thinks he’s created a vision of 1920s Hollywood, but no matter how much research he may have done, he hasn’t listened at all to what these faces, these stories, have told him,” wrote TIME film critic Stephanie Zacharek. “He treats people of this lost era like primitive creatures who just didn’t know any better. He’s not capturing the past; he’s only condescending to it.”
Whatever your take on Babylon, here’s what we know about the complicated history behind the Old Hollywood odyssey.
Read more: Babylon Doesn’t Capture the Magic of Early Hollywood—It Butchers It
The real-life inspirations behind Babylon‘s stars
While the only real person portrayed in Babylon is MGM production head Irving Thalberg (Max Minghella), a number of the movie’s main players do have real-life inspirations.
Robbie’s LaRoy is based on a combination of silent film stars, with the character’s struggles with addiction, difficulty making the transition to “talkies,” and eventual fall from grace hinting at names like Jeanne Eagels, Joan Crawford, and Alma Rubens. But Robbie has said it was the traumatic upbringing of onetime “It Girl” Clara Bow that really helped her understand Nellie.
“Clara Bow had probably the worst childhood of anyone I’ve ever heard of,” Robbie said. “Clara’s parents never got a birth certificate for her because they had already lost two children, and they felt certain she would never make it past her childhood. When I read that, the character of Nellie really started to make sense to me. I could imagine she always felt that every day she was on the planet she was on borrowed time, so she was going for broke every single day.”
On the opposite end of the Old Hollywood fame spectrum is Pitt’s Conrad, an established A-lister who calls to mind big-name stars of the time like John Gilbert, Douglas Fairbanks, and Rudolph Valentino.
“Jack is sort of the uber movie star,” Chazelle said. “He’s the highest grossing leading man in the world when we meet him. He’s one of those guys who has reached the apogee of stardom right at that moment, and the kind of hysterical love and admiration that he inspires, at a moment in time when the whole concept of movie stardom was still relatively new, is really hard for us today to fathom.”
Calva’s Torres, a Mexican immigrant with dreams of making his way up the Hollywood ladder, was also inspired by several real-life figures, according to Chazelle. These included Rene Cardona, who came to Hollywood from Cuba and climbed the studio executive ladder, later playing a role in the Golden Age of Mexican Cinema.
As for some of Babylon‘s more memorable side characters, Chazelle has cited writer Elinor Glyn, reporter Adela Rogers St. Johns, and renowned gossip columnist Louella Parsons as influences for Jean Smart’s Elinor St. John; early female directors like Lois Weber, Dorothy Davenport, and Dorothy Arzner for filmmaker Ruth Adler (played by producer and Chazelle’s wife Olivia Hamilton); and Anna May Wong, the first Asian American film star in Hollywood, as jack-of-all-trades chanteuse Lady Fay Zhu (Li Jun Li).
Finally, charismatic trumpeter Sidney Palmer (Jovan Adepo) is intended to be an amalgam of a myriad of Black stars of the era: talented actors and musicians who had to contend with immense racism in the industry.
“There was a short window of opportunity for Black performers when sound arrived,” Chazelle said, citing musical films of the late ’20s and early ’30s starring Duke Ellington, Louis Armstrong, Ethel Waters, and Bessie Smith as actors who also played music onscreen. Chazelle also lists Curtis Mosby, Les Hite, and Sonny Clay as sources of inspiration for Adepo’s character.
Was early Hollywood really that wild?
Playing off 1952 musical blockbuster Singin’ in the Rain’s lighthearted depiction of late 1920s Hollywood, Babylon clearly seeks to dispel some of the more conservative notions of the silent film era by showcasing a boisterous and thriving party culture, rampant drug abuse, and the often inhumane churn of the movie machine.
“The more I researched those early days of Hollywood, the more I became aware of just how insane that time period was,” Chazelle said. “It was this sort of larger-than-life assemblage of misfits who came together and built a city and a new industry from nothing. I didn’t feel like that kind of crazed behavior had been accurately captured on film before, and I wanted to present their lives and lifestyles in an unvarnished and totally unsanitized way.”
Babylon‘s party scenes are meant to be next-level in order to emphasize the wantoness of the time. The exterior shots of Babylon‘s raucous opening party were filmed at Shea’s Castle, a remote mansion about 60 miles outside of Los Angeles that was built in the 1920s for soirees of that nature. “Socialites used to fly out here and stay for the weekend and do whatever they felt like doing when nobody was watching,” said supervising location manager Chris Baugh.
Another striking sequence late in the movie sends Manny down into the depths of a stomach-churning underground sin den to settle a debt Nellie has racked up with criminal kingpin James McKay (Tobey Maguire). “Welcome to the asshole of Los Angeles,” McKay proclaims as they arrive on the scene.
Babylon‘s production notes explain that the episode was inspired by an incident in Clara Bow’s life as well as the depraved world of Cal-Neva, “an area between the border of California and Nevada that became a hub of gambling in the early 30s as soon as Los Angeles outlawed the practice.”
Babylon doesn’t tell a true story, but instead leans hard into exposing the exploitative history of cinema and how that impacted the society that came up around the industry. However, some of the criticism surrounding the film has centered on Chazelle’s interpretation of this outrageous excess.
“Hollywood was hardly the innocent, asexual industry that a classic like Singin’ in the Rain (or later, The Artist) so lovingly depicted,” wrote Variety‘s Peter Debruge. “But those movies deliver so much more pleasure per frame than this one does, which wears out its welcome in scene after exhausting scene, while purporting to set the record straight.”
|
||||
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https://wizardofvegas.com/forum/off-topic/general/21850-the-movie-the-gambler-is-awful/
|
en
|
The movie, The Gambler... is awful. discussed in General Discussion/Off
|
https://wizardofvegas.com/favicon.ico
|
https://wizardofvegas.com/favicon.ico
|
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Did anyone else see this movie? The scenes look like they were all shot in sequence, then chopped up and intentionally put together out of sequence. There...
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https://wizardofvegas.com/forum/off-topic/general/21850-the-movie-the-gambler-is-awful/
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Quote: gordonm888
Has there ever been a good realistic gambling movie? Or, a good realistic lengthy gambling scene in a movie? I guess Rounders is the best depiction of gambling that I can remember at the moment. I thought 21 was unrealistic and disappointing as were all of The Gambler movies (1974 James Caan film and Kenny Rogers' films), Casino Royale, Maverick and 5 Card Stud. Any one have a recommendation?
Quote: Romes
As you said, Rounders. Possibly some aspects of Pool Hall Junkies too (rounders but for pool).
Also, I still am curious: What do other people think the plot was, or what Marky Mark's character was thinking the whole movie???
Quote: gordonm888
Has there ever been a good realistic gambling movie? Or, a good realistic lengthy gambling scene in a movie? I guess Rounders is the best depiction of gambling that I can remember at the moment. I thought 21 was unrealistic and disappointing as were all of The Gambler movies (1974 James Caan film and Kenny Rogers' films), Casino Royale, Maverick and 5 Card Stud. Any one have a recommendation?
Quote: gordonm888
Has there ever been a good realistic gambling movie? Or, a good realistic lengthy gambling scene in a movie? I guess Rounders is the best depiction of gambling that I can remember at the moment. I thought 21 was unrealistic and disappointing as were all of The Gambler movies (1974 James Caan film and Kenny Rogers' films), Casino Royale, Maverick and 5 Card Stud. Any one have a recommendation?
Quote: gordonm888
Has there ever been a good realistic gambling movie? Or, a good realistic lengthy gambling scene in a movie? I guess Rounders is the best depiction of gambling that I can remember at the moment. I thought 21 was unrealistic and disappointing as were all of The Gambler movies (1974 James Caan film and Kenny Rogers' films), Casino Royale, Maverick and 5 Card Stud. Any one have a recommendation?
Quote: gordonm888
Has there ever been a good realistic gambling movie? Or, a good realistic lengthy gambling scene in a movie? I guess Rounders is the best depiction of gambling that I can remember at the moment. I thought 21 was unrealistic and disappointing as were all of The Gambler movies (1974 James Caan film and Kenny Rogers' films), Casino Royale, Maverick and 5 Card Stud. Any one have a recommendation?
Quote: Ayecarumba
I have heard good things about the poker play in, "The Cincinnati Kid", but can't recall since it has been many, many years since I watched that Steve McQueen movie.
Quote: gordonm888
I saw The Cincinnati Kid a long time ago as well. I remember that the poker in it was 5-card stud. The poker scenes did have some tension in them but let's face it - 5 card stud is at the shallow end of the poker pool.
While it is not popular anymore, I enjoy the game because skill (bluffing and reading the other players), has a bigger role than the actual cards in your hand, compared to most any other game.
Quote: Romes
As you said, Rounders. Possibly some aspects of Pool Hall Junkies too (rounders but for pool).
Also, I still am curious: What do other people think the plot was, or what Marky Mark's character was thinking the whole movie???
Quote: AxelWolf
Focus is about a conn man Some parts were good.
It has a betting scene in it that's fairly close to someones actual emotions during a tilt( or hot suckered ) episode.
The movie could've been good without all the the romantic cutesy BS and if it was a lot darker and they didn't try so hard.
Quote: Romes
Does anyone else have any idea or theory behind this movie??
I created a better story line and ending in my head within 10 minutes of the movie ending:
Quote: JohnnyQ
So screen credits for ROMES for "The Gambler 2"..... straight to DVD ? Perhaps we could get CET to fund it, since apparently they are not very good at investing.
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https://wizardofvegas.com/forum/off-topic/off-topic/492-favorite-gambling-movies/3/
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Favorite Gambling Movies? discussed in Off
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Uncut Gems was fantastic. Best depiction of a degenerate gambler since Owning Mahoney.
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https://wizardofvegas.com/forum/off-topic/off-topic/492-favorite-gambling-movies/3/
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Quote: rxwine
Since this movie is from 1951, I wondered when credit cards came into use. According to Wikipedia, the first was a Diner's club in 1950. So, this may very well be the first reference to a credit card in the movies.
Just some useless trivia. (unless you hear it in final Jeopardy, then you know)
link to original post
Quote: billryan
With a regular AMEX card, you can charge this month but the bill is due in full at the end of the billing cycle. I refer to them as Charge cards. With their Optima cards, you can extend payments out of an extended period. These are credit cards.
Thirty day billing is more charge than credit, in my opinion.
link to original post
Quote: billryan
... in 1982, AMEX sent a rep to talk to my graduating class of some two hundred. She took about an hour explaining how to use credit properly and gave numerous examples of why and when using a card was a good option. She also gave us each a thick guidebook to success in life. There was a whole section on why we should avoid drunken women and how having a wife who is an alcoholic is bad for advancing up the corporate ladder. It also recommended that we switch from beer to whiskey and mentioned that while many senior execs don't look kindly on subordinates who don't drink, many a career has been ruined by getting drunk at company functions.
link to original post
Quote: rxwine
The Great Sinner (1949) based on a story by Dostoevsky.
Gregory Peck and Ava Gardner never looked better. Ava's character and her father are degenerate gamblers and lose a lot of money. Peck is initially trying to save her from her compulsion.
The casino owner complains that he doesn't mind gamblers committing suicide but doesn't like it happening at the tables. The casino has guys walking around the casino like a human pawn shop willing to trade money for whatever valuable the patron at the table has on him. Right at the table, now that's handy.
You hear plenty of gambler fallacies about luck, wins due, etc.,
Peck instead of saving her falls into the same hole. He's almost broke then has a ridiculous streak at roulette. He breaks the bank. He makes $231,750. Pretty good money for 1949. He plans to bail out the father's 200k IOUs that the casino holds.
Next time he visits the roulette wheel, he's only going to stay a few minutes. Hours later...
I didn't see the end of the movie.
link to original post
Quote: FatGeezus
Quote: rxwine
The Great Sinner (1949) based on a story by Dostoevsky.
Gregory Peck and Ava Gardner never looked better. Ava's character and her father are degenerate gamblers and lose a lot of money. Peck is initially trying to save her from her compulsion.
The casino owner complains that he doesn't mind gamblers committing suicide but doesn't like it happening at the tables. The casino has guys walking around the casino like a human pawn shop willing to trade money for whatever valuable the patron at the table has on him. Right at the table, now that's handy.
You hear plenty of gambler fallacies about luck, wins due, etc.,
Peck instead of saving her falls into the same hole. He's almost broke then has a ridiculous streak at roulette. He breaks the bank. He makes $231,750. Pretty good money for 1949. He plans to bail out the father's 200k IOUs that the casino holds.
Next time he visits the roulette wheel, he's only going to stay a few minutes. Hours later...
I didn't see the end of the movie.
link to original post
I made reference to this movie on page 2 of this forum.
Great movie with a surprise ending!
link to original post
Quote: AZDuffman
I had thought of this as a thread but since this one was dug up well here.
We need a poker movie for this generation. Using my "time since to time before" talked about elsewhere here, "Rounders" which came out in 1998 has about he same relevance today that "The Godfather" did when "Rounders" came out.
So, what would be a good plot for a poker movie today? Not a remake or sequel to "Rounders" per se. I keep thinking along the lines of a few buddies who could do more with their lives but just gravitate to spending time at the poker room and sportsbook. Maybe they have another buddy who day trades. And somehow tie it all together to show it is all the same person who does this kind of speculation.
But what of the story? What do they do? Or other ideas?
link to original post
Quote: darkoz
Quote: AZDuffman
I had thought of this as a thread but since this one was dug up well here.
We need a poker movie for this generation. Using my "time since to time before" talked about elsewhere here, "Rounders" which came out in 1998 has about he same relevance today that "The Godfather" did when "Rounders" came out.
So, what would be a good plot for a poker movie today? Not a remake or sequel to "Rounders" per se. I keep thinking along the lines of a few buddies who could do more with their lives but just gravitate to spending time at the poker room and sportsbook. Maybe they have another buddy who day trades. And somehow tie it all together to show it is all the same person who does this kind of speculation.
But what of the story? What do they do? Or other ideas?
link to original post
"The Ultimate X Generation"
Or "The Vultures".
All about the cutthroat world of Ultimate X Poker.
link to original post
Just call it bumb fights, the casino addition.
Quote: AZDuffman
I had thought of this as a thread but since this one was dug up well here.
We need a poker movie for this generation. Using my "time since to time before" talked about elsewhere here, "Rounders" which came out in 1998 has about he same relevance today that "The Godfather" did when "Rounders" came out.
So, what would be a good plot for a poker movie today? Not a remake or sequel to "Rounders" per se. I keep thinking along the lines of a few buddies who could do more with their lives but just gravitate to spending time at the poker room and sportsbook. Maybe they have another buddy who day trades. And somehow tie it all together to show it is all the same person who does this kind of speculation.
But what of the story? What do they do? Or other ideas?
link to original post
Quote: gordonm888
Loosely base the top-level plot on something that actually happened. A female behavioral scientist approaches a top level poker professional and asks for coaching on poker so that she can write scholarly papers on the behavioral psychology embodied in poker.
The audience can then follow the behavioral scientist as she is introduced to poker, learns about the game of poker, and as she gradually becomes a decent high-level player. We can see, through her eyes, the behavior of poker players - their addictions to betting against each other on weird prop bets, their cheating schemes, their ups and downs -perhaps their drug use. The behavior of poker celebrities. The huge amounts of cash that are involved in high-stakes games. The psychology of losing, of bluffing, of going on tilt, of addiction to poker.
Throw in sex, personal time gambling other games in casinos, strife with family members about degrading yourself by becoming a poker player. Police seizing cash because they suspect you're a drug smuggler. An attempted theft in a casino parking garage. Then throw in even more sex.
link to original post
Quote: YouCanBetOnThat
I would say California Split is the best gambling movie ever. However, it was directed by Robert Altman, whose style is not for everyone.
I've been maintaining a list of gambling, Vegas, et al., movies at our website. I'm trying to make it as comprehensive as possible. The list doesn't include non-English language movies nor TV movies, with some exceptions.
https://youcanbetonthat.com/movies
link to original post
Quote:
"Viva Las Vegas" is described as "A swimming instructor (Ann-Margret) detours a singing auto racer (Elvis Presley) in town for the Grand Prix." and I think it is a much better movie than that description would indicate. It is often cited as being the best Elvis Presley movie (which may be weak praise) and as being very high in sexual chemistry -it was often called the best, most iconic film about Las Vegas.
I love, love, love watching
Quote: lilredrooster
.
my personal fave scene - Casino - Ace catches a 2 man team "spooking" at blackjack - and deals out his personal brand of justice
the spook saw the dealer's hole card at a different table and signaled his buddy electronically as to what that hole card was
below the clip is a link from Arnold Snyder indicating that in 1984 the Supreme Court of the State of Nevada took up a case re spooking and the article discusses its legality
https://www.lasvegasadvisor.com/gambling-with-an-edge/is-spooking-legal/
.
link to original post
From back before the mirror was invented
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https://en.wikipedia.org/wiki/The_Gambler_(film_series)
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The Gambler (film series)
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/The_Gambler_(film_series)
|
TV film series
The Gambler is a series of five American Western television films starring Kenny Rogers as Brady Hawkes, a fictional old-west gambler. The character was inspired by Rogers' hit single "The Gambler".[1]
There are five movies in the series. The first four were directed by Dick Lowry while the last was directed by Jack Bender. The movies are:
Kenny Rogers as The Gambler (1980)
Kenny Rogers as The Gambler: The Adventure Continues (1983)
Kenny Rogers as The Gambler, Part III: The Legend Continues (1987)
The Gambler Returns: The Luck of the Draw (1991)
Gambler V: Playing for Keeps (1994)
Cast
[edit]
Films Character Kenny Rogers as The Gambler Kenny Rogers as The Gambler: The Adventure Continues Kenny Rogers as The Gambler, Part III: The Legend Continues The Gambler Returns: The Luck of the Draw Gambler V: Playing for Keeps 1980 1983 1987 1991 1994 Brady Hawkes Kenny Rogers Billy Montana Bruce Boxleitner Bruce Boxleitner Jeremiah Hawkes Ronnie Scribner Charles Fields Kris Kamm Arthur Stobridge Harold Gould Jennie Reed Lee Purcell Eliza Christine Belford Rufe Bennett Clu Gulager Doc Palmer Lance LeGault Kate Muldoon Linda Evans Linda Evans Masket Johnny Crawford Carson David Hedison Pvt. Bob Butler Marc Alaimo Sen. Henry Colton Charles Durning Chief Sitting Bull George American Horse Bat Masterson Gene Barry Kwai Chang Caine David Carradine Lucas McCain Chuck Connors Mark McCain Johnny Crawford The Westerner Brian Keith Bart Maverick Jack Kelly Marshal Wyatt Earp Hugh O'Brian Cheyenne Clint Walker Butch Cassidy Scott Paulin Sundance Kid Brett Cullen Etta Place Mariska Hargitay
Films
[edit]
Kenny Rogers as The Gambler (1980)
[edit]
Kenny Rogers as The Gambler debuted on CBS on April 8, 1980.[2][3] It was a ratings and critical success that has spawned four sequels.[3] The show won a Best Edited Television Special Eddie Award and garnered two Emmy Award nominations (for cinematography and editing of a limited series).[4]
Kenny Rogers stars as Brady Hawkes, the titular gambler, who embarks on a journey to meet Jeremiah (Ronnie Scribner), the young son he never knew after Jeremiah sends him a letter. Along the way, Brady meets Billy Montana (Bruce Boxleitner) and the two become friends. Billy (while trying to help Brady in his quest) fancies himself as a professional poker player on his own. Although Billy makes mistakes along the way (some of these include trying to find a way to cheat or do some smooth talking), Brady makes sure that he stays on good behavior during a train ride to Yuma. The duo help Jennie Reed (Lee Purcell), a prostitute who has trouble with a train baron. At the end, Brady's son's stepfather (Clu Gulager) is confronted.
Kenny Rogers as The Gambler: The Adventure Continues (1983)
[edit]
Kenny Rogers again stars as Brady Hawkes in the miniseries Kenny Rogers as The Gambler: The Adventure Continues which premiered November 28 and 29, 1983 on CBS.[2] The show was an even bigger ratings success than the first and was nominated for two Emmy Awards (sound editing and sound mixing of a limited series).[5]
Billy Montana, Brady, and his son Jeremiah (now played by Charles Fields) are traveling to a gambling event in San Francisco when they encounter the vicious McCourt gang. The McCourt gang force the train to stop and they take Jeremiah hostage and demand a $1 million ransom. Brady and Billy are determined to get Jeremiah back as well as the $1 million ransom which belonged to the train boss. Brady and Billy find help in their mission and meet a female bounty hunter Kate Muldoon played by Linda Evans. Kate is the fastest female gun in the west. They form a posse together in a race to save Jeremiah.
Cast
[edit]
Linda Evans as Kate Muldoon
Johnny Crawford as Pete Masket
Charles Fields as Jeremiah
David Hedison as Carson
Bob Hoy as Juno
Brion James as Reece
Paul Koslo as Holt
Cameron Mitchell as Col. Greeley
Mitchell Ryan as Charlie McCourt
Gregory Sierra as Silvera
Ken Swofford as Wichita Pike
Macon McCalman as Sheriff Rawlins
Harold Gould as Stowbridge
Lee Paul as Pettibone
Kenny Rogers as The Gambler, Part III: The Legend Continues (1987)
[edit]
Kenny Rogers as The Gambler, Part III: The Legend Continues was broadcast November 22, 1987 on CBS.[6]
In this installment, Brady Hawkes and Billy Montana help protect some Sioux Indians from the government and some cattle thieves.[7]
Cast
[edit]
George Kennedy as Gen. Nelson Miles
Linda Gray as Mary Collins
Marc Alaimo as Pvt. Bob Butler
Jeff Allin as Homesteader
George American Horse as Chief Sitting Bull
Michael Berryman as Cpl. Catlett
Sam Boxleitner as Boy with Hat
Jeffrey Alan Chandler as Plow Salesman
Melanie Chartoff as Deborah
Richard Chaves as Iron Dog
Matt Clark as Sgt. Grinder
Charles Durning as Sen. Henry Colton
Dean Stockwell as James McLaughlin
Jeffrey Jones as Buffalo Bill Cody
The Gambler Returns: The Luck of the Draw (1991)
[edit]
The Gambler Returns: The Luck of the Draw is a 1991 television film starring Kenny Rogers as Brady Hawkes and Reba McEntire as Burgundy Jones.[8] Rogers reprises Hawkes in the fourth installment of the series. The two-part film originally aired November 3 and 4, 1991 on NBC, making it the only one of the five "Gambler" TV movies which did not air on CBS. It was nominated for a Costume Design Emmy.[9]
Plot
[edit]
It's 1906 and professional gambling will be outlawed in just three weeks. Therefore, Burgundy Jones (McEntire) has just that long to get Brady Hawkes safely to San Francisco for the last poker tournament, with a very special mystery player. This is made more difficult, as Hawkes is still smarting after a hard-fought loss to another professional poker player in England, who will also be at the tournament.
Production
[edit]
The film features Rogers' character running across a galaxy of old TV western stars played by the original actors, including Gene Barry as Bat Masterson, Hugh O'Brian as Wyatt Earp, Jack Kelly as Bart Maverick, Clint Walker as Cheyenne Bodie, David Carradine as Kung Fu's Caine, Chuck Connors and Johnny Crawford from The Rifleman, Brian Keith as The Westerner, James Drury and Doug McClure from The Virginian (Drury and McClure play thinly disguised different characters, Jim and Doug, due to rights issues for Owen Wister's character), and Paul Brinegar from Rawhide.
The characters are attending a poker game said to be in honor of "the late Mr. Paladin" from Have Gun — Will Travel. (The actor who played him, Richard Boone, had died in 1981.) The game was played at the hotel at which Paladin lived. The game's dealer is "Hey Girl", Paladin's friend (Lisa Lu). As each veteran character appears, a few bars from his original series' theme momentarily plays in the background.
The Gambler Returns: The Luck of the Draw was directed by Dick Lowry.
Cast
[edit]
Kenny Rogers as Brady Hawkes
Rick Rossovich as Ethan Cassidy
Reba McEntire as Burgundy Jones
In alphabetical order:
Claude Akins as Theodore Roosevelt
Dion Anderson as Fight Promoter
Gene Barry as Bat Masterson
Bruce Boxleitner as Billy Montana
Paul Brinegar as Cookie
Kent Broadhurst as Sailor Johnson
Jere Burns as Cade Dalton
David Carradine as Kwai Chang Caine
Chuck Connors as Lucas McCain
Johnny Crawford as Mark McCain
Juliana Donald as Ruby Roy Bean (billed as Juli Donald)
James Drury as Jim
Linda Evans as Kate Muldoon
Brian Keith as The Westerner
Jack Kelly as Bart Maverick
Patrick Macnee as Sir Colin
Doug McClure as Doug
Hugh O'Brian as Wyatt Earp
Park Overall as Melody O'Rourke
Christopher Rich as Lute Cantrell
Mickey Rooney as The Director (based upon D.W. Griffith)
Brad Sullivan as Judge Roy Bean (recast due to Edgar Buchanan's death)
Dub Taylor as The Westerner's Friend
Clint Walker as Cheyenne Bodie
Gambler V: Playing for Keeps (1994)
[edit]
Gambler V: Playing for Keeps is the fifth installment of The Gambler series and the first not directed by Dick Lowry, with Jack Bender taking the helm. The two-part movie premiered on October 2 and October 4, 1994 on CBS.
Plot
[edit]
Brady Hawkes' son, Jeremiah (with Kris Kamm as the third actor in the role) gets involved with outlaws Butch Cassidy (Scott Paulin) and the Sundance Kid (Brett Cullen).[10] Brady tries to save him before he winds up in jail or dead.
Cast
[edit]
Scott Paulin as Butch Cassidy
Brett Cullen as The Sundance Kid
Mariska Hargitay as Etta Place
Kris Kamm as Jeremiah Hawkes
Stephen Bridgewater as Flatnose Curry
Richard Riehle as Frank Dimaio
Ned Vaughn as Ford Hayes
Martin Kove as Black Jack
Dixie Carter as Lillie Langtry
Loni Anderson as Fanny Porter
Geoffrey Lewis as Lynch
Unrealized plans
[edit]
On March 15, 2011, Kenny Rogers told Jimmy Fallon on his television show, Late Night with Jimmy Fallon, that he was asked if he would want to be in another Gambler movie. He began by saying that he had a bad knee and thought it would be hard for him, but continued and said that the first scene in the movie would be a shootout. Supposedly, he would get shot in the shoulder and knee to cover his physical disabilities.[11] However, in the years that followed Rogers announced his retirement from show business and stated that his 2016 tour would be his last and after this he would be spending his time with family. Rogers later died on March 20, 2020.[12]
In other media
[edit]
Books
[edit]
Pirtle, Caleb III; Dobbs, Frank Q. (1996). Jokers Are Wild. Kenny Rogers' The Gambler. Vol. 1. Penguin Group. ISBN 978-1-57297-053-3.
Pirtle, Caleb III; Dobbs, Frank Q. (1996). Dead Man's Hand. Kenny Rogers' The Gambler. Vol. 2. Boulevard Books. ISBN 978-1-57297-093-9.
Pirtle, Caleb III; Dobbs, Frank Q. (1998). Dying Man's Bluff. Kenny Rogers' The Gambler. Berkley Publishing Group. ISBN 978-1-57297-181-3.
Slot machine
[edit]
A video slot machine based on The Gambler can be found in most Las Vegas casinos. It was manufactured by now-defunct International Game Technology.[13]
References
[edit]
IMDB
Kenny Rogers as The Gambler (1980) at IMDb
Kenny Rogers as The Gambler: The Adventure Continues (1983) at IMDb
Kenny Rogers as The Gambler, Part III: The Legend Continues (1987) at IMDb
The Gambler Returns: The Luck of the Draw (1991) at IMDb
Gambler V: Playing for Keeps (1994) at IMDb
AllMovie
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https://www.vulture.com/article/best-gambling-movies-poker.html
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en
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The 26 Best Movies About Gambling
|
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2020-01-31T10:30:11.191000-05:00
|
What are best movies about gambling and poker ever made? There are certainly plenty of contenders, including Uncut Gems, Rounders, California Split, 21, and more. Here are the best movies about gambling and poker, ranked.
|
en
|
Vulture
|
https://www.vulture.com/article/best-gambling-movies-poker.html
|
This article originally ran in 2020 and is being republished ahead of the release of Paul Schrader’s The Card Counter.
Movies about gambling have an inherent drama because, by definition, they’re about risk. It’s not fun to watch someone be prudent and cautious, but to see someone constantly putting his well-being on the line in desperate, irrational hope for that One Big Score … well, gamblers in gambling movies are in many ways just like that veteran cop who takes One Last Case before retirement. They usually don’t end up with a calm home life upstate, counting their winnings.
So, with the release of Paul Schrader’s The Card Counter, we decided to take a look back at some of the best movies about gambling. A note on methodology: We tried to make sure we emphasized the gambling over the movie. Few would argue that Rounders is better than Casino, but Casino is less about the gambling and more about the world in which that gambling takes place; Rounders is definitely about the gambling. We veered more toward movies about the gambling. Luckily, a whole lot of them happen to be great movies all on their own.
26. Vegas Vacation (1997)
All right, so we know this isn’t a very good movie: It’s probably the worst Vacation movie, with the possible exception of that terrible reboot with Ed Helms. But you’ll have to just indulge us on this one, because it has perhaps the single funniest, dumbest casino joke of all time. Basically, Clark Griswold develops an addiction to gambling and is tormented by a card-dealer named Marty played — awesomely — by Wallace Shawn. Clark is so bad at gambling that, at one point at a “discount” casino, he forks over $20 to play a game called “Pick a Number Between 1 and 10?” He guesses “4.” The dealer says “nope, 7,” and … just takes his money. Clark storms away, grumbling to himself. The idea that such a game would exist basically sums up Las Vegas, and gambling in general. It’s maybe the most honest possible card game.
25. Lucky You (2007)
Made in the heat of the now-mercifully-cooled World Series of Poker craze, the late Curtis Hanson put an immediate halt to his terrific L.A. Confidential/Wonder Boys/8 Mile/In Her Shoes run with this mostly hackneyed story of a superstar poker player (Eric Bana) with a complicated relationship with his even bigger superstar poker-player father (Robert Duvall). We have seen that story a million times in a million better sports movies — this even has a Big Game at the end — but both Bana and Duvall find some truth in their characters regardless. This movie was a disaster at the box office, and Hanson’s hot streak was over.
24. 21 (2008)
Based on the true (if embellished by author Ben Mezrich) story of the MIT Blackjack Team that beat the house for nearly a decade, 21 turns an interesting math and business story into a sort of dumb heist movie featuring a lot of young, handsome actors (Jim Sturgess, Kate Bosworth, Aaron Yoo, Jacob Pitts, and even Josh Gad) trying to pull one over on Kevin Spacey. Spacey is particularly checked-out here, and the movie was criticized for “whitewashing” in its casting, turning the mostly Asian-American real-life players into generic white people. But for a brief moment, before Spacey is being kidnapped and beaten in a hotel room, it’s an interesting look at the science behind smart gambling. But only for a moment.
23. Let It Ride (1989)
An odd little comedy about a perpetual loser gambling addict (Richard Dreyfuss) who, for one day, hits on every single bet at the horse races. This just inspires him to push harder and keep it going, and while this might turn out to be a disaster in a movie like, say, Uncut Gems, here, it’s just a wacky ’80s comedy. Let It Ride still gets a lot of comedic mileage out of Dreyfuss’s mania and goes a long way on some very fun supporting performances from Teri Garr, Jennifer Tilly, and David Johansen. But let’s just say they don’t show this one at Gamblers Anonymous meetings.
22. Maverick (1994)
There was a time that Mel Gibson was considered such a light and lively leading man that a big-budget studio movie could coast on his charm as a card shark and con man. Based on the popular ’50s television series (and co-starring that show’s lead, James Garner), Maverick is a bit of a bloated contraption, too long and too overstuffed with would-be-epic-and-probably-unnecessary Western scope by Richard Donner. But the film still has its pleasures, not least of which is Gibson’s pal Jodie Foster, who has a blast playing the sort of damsel-in-distress female sidekick role she’d otherwise spent most of her career avoiding. It’s a gas to watch her so giddy.
21. The Cooler (2003)
This likable indie’s best quality is its premise: Meet Bernie (William H. Macy), a professional loser whose job it is to ruin any high-roller’s hot streak simply by playing at the same craps table. The Cooler starts off as a sad, funny character study of a recovering gambling addict who’s still in massive debt to Alec Baldwin’s tough-guy casino boss — he’s working off what he owes by being the guy’s go-to “cooler” — but the love of a good woman (Maria Bello’s weary cocktail waitress) might just change his luck. Realism takes a backseat to romance and crowd-pleasing sentiment in Wayne Kramer’s directorial debut, and the followthrough isn’t as entertaining as the setup. But Macy was born to play this sort of hangdog failure who hasn’t stopped betting on himself.
20. Ocean’s Eleven (2001)
Often, movie characters who gamble are presented as sobering cautionary tales. Nobody told Steven Soderbergh, who turned his remake of the creaky Rat Pack caper into a jazzy, fleet-footed blast. From the early scene where George Clooney and Brad Pitt’s ultra-cool characters square off at the card table, it’s clear that this Ocean’s Eleven will exude the sleek, cocky spirit of modern Vegas, which is all upscale adult pleasures and very little actual degenerate behavior. Soderbergh’s ensemble is impeccably dressed and never fussed, sporting the swagger that real gamblers wish they had. The filmmaker isn’t interested in the intricacies of gambling, and he also thinks the games’ metaphors are equally silly — as demonstrated by one of the film’s best moments:
19. Molly’s Game (2017)
If you chafe at Aaron Sorkin’s showy, know-it-all attitude in his screenplays, then be warned: His directorial debut is the Oscar-winner at his Sorkin-iest. Molly’s Game is based on the memoir of Molly Bloom, a former champion skier who shifts careers after a terrible accident, turning her attention to the world of underground poker. Jessica Chastain is coiled-cobra cocky as Molly, walking us through this illegal but highly addictive and lucrative ecosystem as she becomes the queen of organizing high-stakes games. This thriller is far too proud of its own cleverness — a chronic Sorkin shortcoming — but you feel Molly’s rush, and you meet some truly heartbreaking characters, including Bill Camp’s hopeless gambler. It’s horrifying to watch him drown in slow motion.
18. Casino (1995)
“In Vegas, everybody’s gotta watch everybody else.” In 1973, Robert De Niro played the dangerous, unpredictable hothead opposite Harvey Keitel’s sensible mobster in Mean Streets — a couple decades later, it was De Niro as the man with the weight of obligations bearing down on him. In Casino, he’s Ace, a gangster running a mobbed-up casino who’s trying to do things “the right way,” only to be undercut by his hotheaded pal (Joe Pesci) and an ambitious woman (Sharon Stone) he shouldn’t trust. Want to understand the inner workings of Vegas gambling? Martin Scorsese’s intricate drama is for you, chronicling Sin City’s evolution from seedy to sanitized over the span of several years. As he did previously with GoodFellas, Scorsese understands how American enterprise works in the criminal underworld — and also how individuals get trampled on along the way.
17. The Hustler (1961)
When you consider the parameters of our gambling movie rankings, we must say, The Hustler isn’t as good a gambling movie as its sequel, The Color of Money, (which you will find later on this list) … but it probably is a better movie overall. The 1961 original is less concerned with a swaggering Tom Cruise–Paul Newman movie-star face-off and more focused on loyalty and integrity and ambition. Newman’s Fast Eddie Felson is like a more interesting version of Cruise’s character, and his battle to take down Jackie Gleason’s Minnesota Fats follows a more human, soulful narrative than a typical sports-movie arc. It’s better the less it is about the pool hustling … which is great, but keeps it lower on this list.
16. Bugsy (1991)
An origin story of Las Vegas, Bugsy is principally a study of Bugsy Siegel, a gangster who travels to the desert, convinced he’s seen the mob’s future. Lavish, classy, and smart, director Barry Levinson’s Oscar-winning drama follows Siegel in his seemingly quixotic dream of creating a mecca of gambling and casinos, and Warren Beatty keenly plays him as a man of passions but perhaps not enough reason. Bugsy is less about gambling — although Siegel surely takes some big chances — than it is about Sin City’s messy birth, which proves fascinating, even if the movie’s glitzy, prestige-picture trappings are a bit limiting.
15. Atlantic City (1980)
Today, the legalization of gambling has become a Hail Mary last-ditch effort for many financially eroding urban areas like Detroit, St. Louis, and others — but Atlantic City did this first. Louis Malle’s heartbreaking but still charming, even regal Atlantic City captures both the blight of Atlantic City — which led to the legalization of gambling there in the first place — and the hope among the poor dreamers still hanging around its edges. With a screenplay written by John Guare, the film features an honest, old-school movie-star performance from Burt Lancaster and a riveting turn from a young Susan Sarandon as a casino waitress with dreams of being a dealer but an ex-husband she can’t shake. The movie feels both dated and timeless, capturing a specific moment that has the power of folklore.
14. Eight Men Out (1988)
John Sayles’s historical drama about the Black Sox scandal of 1919, when members of the Chicago White Sox (including legend Shoeless Joe Jackson) threw the World Series to gamblers, is particularly instructive today, when professional sports have embraced gambling revenues wholeheartedly, ignoring the lessons of the past. The story of Eight Men Out is less about corruption from the players than it is a labor-management conflict: The players fix the series not out of greed but out of desperation when their owner refuses to reward them for an incredible season. Gambling’s corrosive influence on sports has mostly been forgotten in the recent years, but Eight Men Out reminds us of its perils.
13. The Color of Money (1986)
Paul Newman won his only Oscar for The Color of Money, revisiting the character of Fast Eddie Felson, whom he played in 1961’s The Hustler. The sequel is a movie about an aging pool shark at a crossroads. “He had to stop gambling,” Scorsese said in Conversations With Scorsese. “He had become a different kind of hustler in a way, selling liquor. But he couldn’t resist the joy of the game. I mean, not just pool, but livening up the game of life, which is the real gamble.” That quote undersells the film’s cautionary tone — how it portrays its characters, including Tom Cruise’s upstart pool player Vincent, as individuals who have thrown away their lives on a game that doesn’t love them back. This isn’t one of Scorsese’s best movies — and as we said earlier, The Hustler is the better overall film — but it’s solid and despairing. Like with Scorsese’s mobsters, these are people who are magnetic but not ones you’d want to spend time with in real life.
12. The Sting (1973)
Who says gambling can’t be really fun? This Best Picture winner exudes pure pleasure … well, unless you run afoul of Shaw (Paul Newman) and Kelly (Robert Redford), that is. These two con men decide to take down a no-good mobster (Robert Shaw), and their elaborate grift involves card games and horse racing. Understanding the machinations of Shaw and Kelly’s plan doesn’t matter — it’s just a delight to watch the characters (and director George Roy Hill) turn The Sting into one big, electric narrative sport. These are some winners who are easy to root for.
11. Owning Mahowny (2003)
When you strip away all the supposed glamour and glitz of gambling and focus on the crippling, oppressive addiction, you get Owning Mahowny, the true story of a Canadian bank manager (Philip Seymour Hoffman) who stole money from his bank and used it to make a series of increasingly dangerous bets in Atlantic City. Hoffman, as you might expect, is brilliant in the role, elusive and pathetic in equal measure, a man who is helpless to control himself but does his best to hang on as long as he can regardless. The movie is so tuned in to Hoffman’s frequency that it’s almost too distant to the viewer: His Mahowny is so locked in his own head that there’s no way for us to get in. But this is probably as close to the terror of what it’s actually like to have a gambling addiction as a movie can probably get.
10. Rounders (1998)
We say this every time we write about Rounders, but it remains true: “It’s basically Citizen Kane for gambling addicts and … perfectly fine for everybody else.” That puts it higher on this list than it would be on almost any other, but it does do an excellent job of capturing the swaggering, dopey masculinity of being a professional poker player. (Or at least of being one in the late ’90s.) We’re glad Matt Damon eventually grew out of these roles, but a supporting cast like this (John Malkovich! John Turturro! Martin Landau! Famke Janssen! Even Bill Camp!) can’t help but populate this with people who make a mostly artificial world feel real and lived-in. Still: See The Cincinnati Kid, people. (That’ll be coming up on this list shortly.)
9. The Card Counter (2021)
Paul Schrader’s sleek, moody, anguished drama about a professional card player (a fantastic Oscar Isaac) who travels from casino to casino as a way to have some quiet control over his life and hide from the guilt in his past is more fun, but not less intense, than Schrader usually has: He clearly loves this particular milieu and delights in detailing its intricacies and nuances. The gambling scenes sometimes sit uneasily alongside Schrader’s usual tone of guilt and pain, but they also enliven and energize both him and the film. And for all the different examples of Cool Movie Gamblers on this list, Isaac’s is very near the top: We are not gamblers, but if we were, he does it the way we like to pretend we would: smart, cautious … and always in control.
8. Mississippi Grind (2015)
Before they jumped aboard the Marvel bandwagon, Half Nelson filmmakers Anna Boden and Ryan Fleck crafted this lovingly retro two-hander about a couple of inveterate gamblers driving down south to a New Orleans poker game with potentially big payoffs. This might be Ryan Reynolds’s best performance: He’s terrific as the backslapping Curtis who befriends the troubled Gerry (Ben Mendelsohn). Addiction, depression, and regret are the hallmarks of Mississippi Grind, which doesn’t try to hide its debts to 1970s Hollywood — specifically, a certain Robert Altman film that will appear later in these rankings. But that cinematic referencing does nothing to blunt the material’s desperate, melancholy pull. Mississippi Grind practically reeks of stale cigarettes and half-drunk cans of beer: It’s a portrait of nonstop gambling as one sad grind.
7. Croupier (1998)
Clive Owen has been such a familiar, somewhat disappointing, presence in films for the last two decades that it’s now hard to remember what a lightning bolt his arrival was. So go back and rewatch Croupier, where all that promise was laid out fairly magnificently. He’s Jack, an aspiring novelist desperate for money — soon, he’s a croupier getting to know the world of casino gambling. Pitched like a hard-boiler noir — Jack has the blasé seen-it-all vibe of a private dick — Croupier explores the sweaty anxiety and crippling sadness of those who have thrown their lives (and money) away at the tables. If the plot complications aren’t always satisfying, the film’s vivid recreation of dingy casino life is utterly intoxicating. It’s a shame that Owen has rarely found a film since that’s so magnetic.
6. The Cincinnati Kid (1965)
Considered a bit of a knockoff of The Hustler at the time, this movie, which concentrates on poker rather than pool hustling, holds up just as well as that film, and maybe even better, if just because people do a lot more poker-playing than pool-hustling anymore. It also has a classic Steve McQueen performance as “the Kid,” a cocky player who learns he’s maybe not as great as he thinks he is. The movie feels current and taut and relevant. Put it this way: All the bros you know who think Rounders is the best movie ever clearly haven’t seen this.
5. Tricheurs (1984)
The best gambling movie you’ve never heard of. Right before Barbet Schroeder gave us Barfly, Reversal of Fortune, and Single White Female, he made this mad, irresistible little thriller about a charming man (played by French rock star Jacques Dutronc) with such a desperate addiction to gambling that he ultimately doesn’t really care if he wins or loses. That becomes an even bigger problem when he meets up with a man who enlists him in a complicated cheating scheme that just raises the stakes to an unmanageable level. Tricheurs isn’t judgmental of these gamblers and cheaters: It just follows them along to their inevitable doom. Not that the trip isn’t a wicked, dark blast regardless.
4. Hard Eight (1996)
Paul Thomas Anderson’s first film, an expansion of a short film he made called Coffee & Cigarettes (and starring a character called Sydney that Philip Baker Hall previously played in Midnight Run), was a major pain for the neophyte filmmaker, a movie he nearly lost the rights to (and whose title he famously hates). And while it can’t stand up to PTA’s masterworks, it’s a remarkable debut, a study of a sad, lonely man who has learned to survive in the underworld of Las Vegas by being quiet and unassuming until he meets people who might actually need his help. It’s less showy than you’d expect from Anderson’s first film — he was saving his truly bravura stuff for Boogie Nights — but it’s deeply moving: The movie seems to understand Las Vegas, and the men you never notice when you’re there, on an almost transcendent level. And Philip Seymour Hoffman’s one scene is immortal:
3. Uncut Gems (2019)
Every time we see the “This is how I win” meme on social media, we can’t help but think … you know, that moment in Uncut Gems is really heartbreaking. For all the well-deserved discussion about the fact that Josh and Benny Safdie’s thriller is incredibly intense, what gets left out is precisely why it’s so nerve-wracking. And that’s because Howard, wonderfully played by Adam Sandler, is a hopeless gambling addict who cannot stop until he destroys himself utterly. The brilliance of Uncut Gems is in Howard’s ability to get us sucked into his sickness, making us think, even for a moment, that, yes, he might be able to pull off this crazed caper he’s concocted — yes, maybe this is how he wins. Never once moralizing about their doomed protagonist, the Safdies inject his mania directly into our veins, riding along on his crazed rush. Yet here’s the craziest part: After seeing the film’s tragic finale, you may want to get right back on the ride immediately. Addiction is sort of like that.
2. The Gambler (1974)
James Toback, who has since been hit with allegations of all kinds of problematic behavior, based his screenplay on his own gambling addiction, but what’s great about The Gambler — the 1974 James Caan version, obviously, not the 2014 Mark Wahlberg one — is that the title character is less obsessed with gambling than he is with danger, even self-destruction. His Axel makes bets simply to dig himself deeper and deeper into trouble, even arguing that, for him, the fun of betting is losing. That’s a perilous situation for a gambler, to say the least, but Caan sells us on Axel’s desperate chase for the next rush. Axel isn’t betting on basketball: He’s playing Russian roulette.
1. California Split (1974)
The story goes that Robert Altman sent Elliot Gould the screenplay to California Split, hoping he’d play Charlie, a gambler who befriends fellow gambler Bill (George Segal). “I’ve always wanted to play this guy,” Gould told the director, to which Altman replied, “You are this guy.” Hopefully not — Charlie’s addiction is pretty severe — but the actor exuded his laid-back charm to wonderful effect while working with Segal, who wasn’t that interested in gambling. And yet the two men’s rakish charm, in one of the high watermarks of ’70s hangout cinema, makes this not just a great buddy movie but a beautiful exploration of boys-will-be-boys friendship. And, of course, there’s a whole lot of gambling, which Altman films with casual mastery, letting us eavesdrop on the weird characters and dangerous oddballs who populate that world. California Split remains perhaps the director’s most underrated classic — and its gut-punch ending is so muted, yet so perfect.
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The Gambler Review
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Read the Empire Movie review of The Gambler. A rare grown up thriller, full of interesting bits and a strong turn from Wahlberg. But as a whole...
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/assets/empire/favicon.ico
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Empire
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https://www.empireonline.com/movies/reviews/gambler-2-review/
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A remake of Karel Reisz’s downbeat under the radar ‘70s classic starring a post Godfather James Caan, The Gambler is at heart about an intelligent man who can only feel alive by risking everything on an ill-considered punt. Director Rupert Wyatt and star Mark Wahlberg, a pair united by Planet Of The Apes re-dos, have taken the theme if not the mood of the ’74 original and created an enjoyable, slick if slightly hollow update.
Wahlberg’s casting as any kind of English professor may rank as the unlikeliest since John Wayne played Genghis Khan but he makes a good fist of inhabiting a higher minded intellectual life in tandem with his self destructive gambling impulses. The actor has a track record at interpreting screenwriter William Monaghan smart, terse dialogue — think of Wahlberg’s blistering turn in The Departed — and early doors, he has a terrific scene lecturing his wannabe writing students about the pitfalls of mediocrity (“If you are not a genius, don’t bother”). But in the end the character doesn’t deepen or develop. Monaghan also creates potentially interesting roles for Brie Larson (a Grade A student who falls in with Wahlberg) and John Goodman (a bald loan shark) but again the movie never really figures out what to do with them.
Wyatt’s direction is brisk, efficient, with the odd moment of brilliance (time-lapse gambling) and a great ear for tuneage, ranging from Dylan, Chopin, Pulp to a terrific use of Dinah Washington’s This Bitter Earth. He also gets effective atmosphere out of the unusual world of LA's Asian gambling dens. Yet what he doesn’t really do is inject Miller’s predicament with a sense of dread or feeling. BIG numbers count down the time to payback day but there is little in the way of tension or suspense. And in the end, it’s hard to connect with a smart man who time and again flushes easy get-outs down the toilet.
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https://www.thehollywoodnews.com/2022/10/21/the-most-iconic-blackjack-scenes-in-movies/
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The Most Iconic Blackjack Scenes in Movies
|
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2022-10-21T00:00:00
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While Poker is frequently regarded as the quintessential casino activity, others also deserve consideration. Consider Blackjack, a game that successfully marries the components of luck and skill in a style that is both accessible and entertaining. Blackjack, which has been extensively featured in some of Hollywood’s finest films, also possesses a certain allure. So let’s […]
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en
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The Hollywood News
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https://www.thehollywoodnews.com/2022/10/21/the-most-iconic-blackjack-scenes-in-movies/
|
While Poker is frequently regarded as the quintessential casino activity, others also deserve consideration. Consider Blackjack, a game that successfully marries the components of luck and skill in a style that is both accessible and entertaining. Blackjack, which has been extensively featured in some of Hollywood’s finest films, also possesses a certain allure. So let’s examine some of the greatest Blackjack sequences ever and evaluate their status in the annals of Hollywood.
Find A Good Online Gambling Provider
Since this article is filled with countless blackjack gambling scenes it might summon the inner gambler in you. There ain’t nothing wrong with playing some blackjack. If you decide to play this renowned casino game, use only trustworthy gambling websites or apps. Make sure to read as many reviews as possible before making a final decision on the blackjack app to use (Source: https://sportslens.com/online-casinos/blackjack/apps/).
The Hangover
In this blink-and-you’ll-miss-it blackjack sequence, the brothers count cards at breakneck speed to win $80,000, settle their debts, and reclaim their lost groom Doug. This scene in The Hangover is hilarious and believable enough to make you question whether or not it makes sense to play at an online casino rather than a physical one.
Swingers
In another short scene, the main character Mike plays just one hand of poker at a table with a $100 minimum bet. After doubling over and losing, he travels to a low-stakes table and successfully sets the tone for the entire film!
Austin Powers
Fembots, Robots with a mistaken sense of humanity, Mojo, and Austin Powers’ blackjack scene is highly recommended viewing for fans of comedy. Number Two, played by Robert Wagner brilliantly, bravely ignores his dealer’s advice and hits on 17, knowing that the next card will be a four because of his eye patch and X-ray vision. This will cause numerous heads to nod in agreement, as we have all experienced this sentiment at some point.
License to Kill
The License to Kill blackjack scenario is odd because James Bond prefers baccarat. Bond wins £250,000 by challenging casino owners and villains to a blackjack game in the 1989 classic. The moment is beautifully shot and is among the most unforgettable in the history of current cinema.
One Flew Over the Cuckoo’s Nest
One Flew over the Cuckoo’s Nest, a cult film, launched Jack Nicholson’s career and captivated audiences worldwide. Particularly remarkable is the scene in which he convinces other inmates at a mental facility to play blackjack, as it demonstrates that gambling is not always attractive or a sport for high rollers.
Rain Man
Rain Man, in which Dustin Hoffman plays blackjack, has one of the most famous scenes of its kind of all time. It has also set the standard for all other similar scenes. The sequence may not be a perfect depiction of card counting, but that was never the goal of the writers, and it is hard to top for its combination of passion, modesty, and drama.
21
The entirety of the film is a riveting investigation into the morality and ethics that prevail at the tables in Las Vegas. The scenes in which Kevin Spacey’s professor leads his students in quest of a jackpot are not only some of the most captivating in casino movie history but also some of the most genuine.
Vegas Holiday
This installment of the ‘Vacation’ trilogy is an undervalued and modest film that has tremendous entertainment value. The classic blackjack sequence is also one of the cruelest of its kind, with Chevy Chase‘s protagonist losing hand after hand and exhausting an entire credit line in the process. This scene exemplifies the dangers of gambling if ever there were one.
Johnny Obtained a Gun
This anti-war film was made in 1971 when blackjack was only available in brick-and-mortar casinos around the world. The gaming scenes in this film are exceedingly genuine, and they appear as genuine and realistic now as they did when the film was the first broadcast. The connection between the characters is also incredibly emotional, adding a beautiful dimension to an already excellent film.
The Icebox
Even though gambling and romance might seem like an odd mix, the 2003 hit movie “The Cooler” did a great job of balancing the two. If you’re a hopeless romantic who also appreciates the allure of blackjack, this film will speak to your soul.
Croupier
How about blackjack, but from the house’s point of view? The 1998 blockbuster film ‘Croupier’ examines this subject like no other, as it tells the story of a failing author who finds a new job as a blackjack dealer and spirals into debt and danger. Clive Owen has excellent performance as the lead and can convey the sensitivity of the gambling world.
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https://en.wikipedia.org/wiki/The_Gambler_(2014_film)
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The Gambler (2014 film)
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2014-01-25T16:47:45+00:00
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https://en.wikipedia.org/wiki/The_Gambler_(2014_film)
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2014 film
The GamblerDirected byRupert WyattScreenplay byWilliam MonahanBased onThe Gambler
by James TobackProduced byStarringCinematographyGreig FraserEdited byPete BeaudreauMusic by
Production
companies
Chartoff/Winkler Productions
Closest to the Hole Productions
Leverage Entertainment
Distributed byParamount Pictures
Release dates
Running time
111 minutes[1]CountryUnited StatesLanguageEnglishBudget$25–31 million[2][3]Box office$39.3 million[4]
The Gambler is a 2014 American crime drama film directed by Rupert Wyatt. The screenplay by William Monahan is based on the 1974 film The Gambler, written by James Toback, which, in turn, is based on Fyodor Dostoevsky's novel of the same name. The remake, starring Mark Wahlberg as the title character, premiered on November 10, 2014, at the AFI Fest,[5] and was theatrically released in the United States on December 25, 2014. It features the final film performance of George Kennedy before his death in 2016.
Plot
[edit]
Jim Bennett is an L.A. literature professor who uses gambling as a way of self-destruction. He ends up owing $200,000 to Lee, the proprietor of an exclusive, high-stakes underground gambling ring, and another $50,000 to Neville Baraka, a loan shark. Lee gives Jim seven days to pay off his debts or be murdered.
During one of his classes, Jim begins an awkward discussion of literary excellence using Shakespeare as an example, arguing how almost all aspiring writers fail to accomplish literary excellence. Jim singles out exemplary athletes in his class for discussion. First Dexter, an emerging tennis star; he later confronts a basketball student star, Lamar Allen, who pays no attention in class but intends to play in the NBA.
Jim expresses his extremist view on achieving excellence in one's field or vocation: if you can't be exemplary, he reasons, then you might as well not try. He tells them that only Amy Phillips, a quiet student, is capable of a career in literature. He identifies her as a potential writing prodigy based on her work in his class, as well as having previously encountered her working secretly as a waitress at the underground gambling house. They develop a mutual interest in each other.
After class, Jim visits his mother Roberta at the family's luxury estate, but she says that she will not give him any more money. Jim considers borrowing money from Frank (another loan shark) to consolidate his debts and buy himself some time, but refuses to do so when Frank first demands Jim admit “I am not a man”.
Jim convinces Roberta to give him enough to pay off his debts, expressing no gratitude, then gambles it all away in a casino with Amy. Baraka kidnaps Jim, has him tied-up and tortured, confronting him with an ultimatum—convince Lamar to win his college basketball semi-final by a margin of 7 points or less, or he will kill Amy.
Jim goes to Frank, who advises him to change his version of a "fuck you" attitude towards life by getting enough money to build a safe house and make reliable low yield investments, for protection against his severe gambling losses. Frank lends him $260,000 to pay his debt to Lee, but also threatens to kill everyone in Jim's personal life if he is not repaid. Lee's men assault Jim when he comes to ask Lee to stake him $150,000, saying the only way he can pay the full $410,000 debt to Lee and Frank is to gamble and win. He uses the $150,000 to bribe Lamar into doing the basketball point-shaving scheme. Jim sends Dexter to Las Vegas to bet on the game with the $260,000 he got from Frank. Lamar succeeds, so Jim uses his winnings to pay his debt to Baraka, denying he knows anything about the large bet made in Vegas.
Jim then convinces both Lee and Frank to meet him in a neutral gambling den, where he wagers enough money to pay both men off—if he wins—on a single roulette spin. Successful, he leaves the money at the club for Lee and Frank saying, "I am not a gambler." The payment to Frank is more than he owed; Frank finds Jim and offers to give back the “cream” but, to Frank's amusement, Jim responds “Fuck you”. On an apparent adrenaline rush, Jim runs miles through the city to arrive at Amy's apartment; he is broke, but free from debt.
Cast
[edit]
Mark Wahlberg as Jim Bennett
John Goodman as Frank "Little Frank"
Brie Larson as Amy Phillips
Michael K. Williams as Neville Baraka
Jessica Lange as Roberta
Andre Braugher as Dean Fuller
Anthony Kelley as Lamar Allen
Alvin Ing as Lee
Domenick Lombardozzi as Ernie "Big Ernie"
Emory Cohen as Dexter
Steve Park as "Two"
Leland Orser as Larry
George Kennedy as Ed
James Wellington as Indian Casino Dealer
Production
[edit]
Development
[edit]
In August 2011, Paramount Pictures announced a remake of the 1974 film The Gambler with the original producers, Irwin Winkler and Robert Chartoff. Intended as a directorial project for Martin Scorsese, it was reported that Leonardo DiCaprio was attached as the star and William Monahan would write the screenplay.[6]
In a 2011 interview, screenwriter James Toback gave the autobiographical story of the original film's background and development, and criticized the idea of his film being remade.[7]
Scorsese left the project and filmmaker Todd Phillips was in talks to take over as of August 2012.[8] In September 2013, actor Mark Wahlberg and director Rupert Wyatt expressed interest in making the film.[9]
Casting
[edit]
By October 17, 2013, Brie Larson was in talks to play the female lead role, alongside Wahlberg.[10] On January 15, 2014, Emory Cohen joined the cast of the film, playing one of the professor's students.[11]
Filming
[edit]
Shooting began on January 20, 2014.[12] On February 3, 2014, Wahlberg was spotted on The Gambler set in Downtown Los Angeles.[13] On March 13, there was a basketball scene filmed in Los Angeles.[14]
Music
[edit]
Main article: The Gambler (soundtrack)
On September 8, 2014, it was announced that Jon Brion would be scoring the music for the film,[15] while on October 27, Film Music Reporter revealed that Theo Green composed the score for the film.[16] Republic Records released a soundtrack album for the film on December 16, which features songs from various artists.[17]
Release
[edit]
The Gambler had its world premiere during the 2014 AFI Fest at the Dolby Theatre in Los Angeles on November 10.[18] Paramount previously set the film for a limited release in the United States on December 19, 2014, for an Oscar-qualifying run strategy, and planned to expand the film on January 1, 2015.[19] But on December 5, Paramount announced the film would be released wide in cinemas on December 25, 2014, instead of the previous platform release plans.[20]
On October 22, 2014, the first teaser poster and red band trailer were released.[21] On November 5, 2014, the green band trailer was released.[22]
Reception
[edit]
On Rotten Tomatoes, the film has an approval rating of 44% based on 144 reviews, with an average rating of 5.5/10. The website's critics consensus reads: "Well-paced and reasonably entertaining in its own right, The Gambler still suffers from comparisons to the James Caan classic that inspired it."[23] On Metacritic, the film has a weighted average score of 55 out of 100, based on reviews from 40 critics, indicating "mixed or average reviews".[24] Audiences surveyed by CinemaScore gave the film a grade C+ on scale of A to F.[25]
Bilge Ebiri of Vulture.com wrote: "Wahlberg grows into the part. He may not be right as a precocious, self-loathing intellectual, but he's very much at home playing a dickhead who's gotten in too deep. And as The Gambler becomes less about its protagonist's dashed intellectualism and more about the gathering danger of his predicament, the film gains power."[26] Todd McCarthy of The Hollywood Reporter called it a slick and efficient remake, and "In nearly every scene, Wahlberg carries off the central role with what could be called determined elan."[27] Peter Travers of Rolling Stone gave the film two out of four stars, saying: "Wyatt keeps the action coming at a fast clip, but watching Jim repeatedly pursue a path of self-destruction for reasons never made clear grows wearying."[28]
Jessica Lange's performance has received critical acclaim. TheWrap wrote that Lange had one of her "meatiest film roles in ages."[29] The Huffington Post described her performance as "ferocious" and capable of "knocking down William Monahan's profanity laced dialogue with gleeful abandon"[30] Also, the Boston Herald described her work as "strikingly memorable",[31] which Newsday, The Philadelphia Inquirer, and Indiewire have agreed with, terming her "affecting", "stirring", and "terrific".[32][33][34] James Berardinelli from ReelViews described her as "heartbreaking as the cold, rich widow who blames herself on some level for her son's failure."[35] Chris Nashawaty from Entertainment Weekly lauded her acting as effortless by saying "[she] can do icy in her sleep..."[36] Rex Reed from The New York Observer described her performance as "hard" and "venomous".[37] Peter Travers described her performance as "reliably superb".[28] Jeff Baker from The Oregonian stated that her acting is "fierce".[38] Indiewire suggested Lange as a contender for the Academy Award for Best Supporting Actress.[39]
References
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‘The Gambler’ Stars Mark Wahlberg Indulging in a Habit
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In “The Gambler,” Mark Wahlberg takes big risks with money and relationships.
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In “The Gambler,” a movie about a guy who’s a glutton for criminally high stakes and for punishment, a skeletonized Mark Wahlberg wears a mop of greasy hair and an abject look. In some scenes, he looks crushed and lost, like a wadded scrap of paper that fell short of the garbage bin. It soon becomes clear why. His character, Jim Bennett, hit the literary jackpot years ago with a well-received first and only published novel. Now Jim splits his time between teaching college — say hello to Professor Wahlberg — and betting and losing at gaming tables, some in underworld parlors around a Los Angeles that’s been Michael Mann-ed into a smear of throbbing color and would-be existential dread.
“The Gambler” is based on the terrific lowdown and gritty 1974 movie of the same title starring James Caan. That film was beautifully directed by Karel Reisz from James Toback’s script about his experience as a gambler and college lecturer; the new one was directed by Rupert Wyatt from a screenplay by William Monahan, who also wrote Martin Scorsese’s Academy Award windfall “The Departed.” Without a script in hand, it’s tough to tell how significant a contribution a writer makes to a movie, what was retained or changed from page to screen. All that’s clear in this “Gambler” is that almost everything that makes the original so pleasurably idiosyncratic, from its daft ideas to the peekaboo bear rug spread over Mr. Caan’s often-bared chest, has been expunged from the remake.
A change in name is the least of it but is symptomatic of the material’s bowdlerization. Mr. Caan’s gambler is Axel Freed and the scion of a wealthy Jewish New York family. (The name suggests that Mr. Toback was familiar with Dostoyevsky’s short autobiographical novel “The Gambler,” in which the protagonist is named Alexei.) Recast as an ethnically generic poor little rich boy, Mr. Wahlberg’s Jim Bennett lives in Los Angeles, mostly after dark in illegal gambling dens where Asian and black habitués serve as decoration. In one of the remake’s better touches, Jim and some other gamblers stroll into these joints with satchels and briefcases stuffed with cash, like salarymen purposefully marching off to work. Gambling isn’t his profession, though it is his calling, habit and love.
The story mostly involves Jim’s consuming passion with gambling and, in a quasi-Freudian move, learning to transfer that libidinous energy to a dubiously healthier object, in this case one of his young students, Amy (an underused Brie Larson). Mr. Monahan may have lifted the teacher-student liaison from Dostoyevsky’s biography and novelist’s relationship with a much younger woman. That’s moderately interesting, but it doesn’t mean anything for Amy (or Ms. Larson), who does little more than look intently at Jim when he’s jumping around the lecture hall or laying down some heavy thoughts. Ms. Larson holds your eyes and interest, but she’s as ornamental as the stick figure played by Lauren Hutton in the 1974 film.
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https://www.theexeterdaily.co.uk/news/entertainment-reviews/shuffling-through-cinema-top-rated-blackjack-movies-you-must-see
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Shuffling Through Cinema: Top-Rated Blackjack Movies You Must See
|
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2023-10-04T10:15:14+01:00
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Welcome to the glitzy and thrilling universe of casinos, where fortunes are made or lost on the turn of a card. In this high-stakes world, blackjack reigns supreme, a game that combines strategy, skill, and a generous dash of luck. This captivating game has not only enthralled players around the
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The Exeter Daily
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https://www.theexeterdaily.co.uk/news/entertainment-reviews/shuffling-through-cinema-top-rated-blackjack-movies-you-must-see
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Welcome to the glitzy and thrilling universe of casinos, where fortunes are made or lost on the turn of a card. In this high-stakes world, blackjack reigns supreme, a game that combines strategy, skill, and a generous dash of luck. This captivating game has not only enthralled players around the globe but also ignited the imagination of filmmakers, leading to a genre of blackjack movies that have left audiences spellbound. These films have brilliantly encapsulated the allure of gambling, a universally popular activity that oscillates between glamor and danger, victory and defeat. This article will take you on a cinematic journey through the most acclaimed blackjack movies that have not only entertained audiences but have also significantly influenced our perception of this fascinating game. So, hold onto your seats as we dive into the roller coaster world of blackjack cinema, a realm where the stakes are always high and the tension palpable.
1. The Last Casino (2004)
"The Last Casino" (2004) is a captivating film that takes viewers deep into the thrilling world of casinos and card-counting. Directed by Pierre Gill, the plot revolves around a professor who, burdened with financial troubles, decides to teach three bright students the art of card counting to make money, adding an educational twist to the classic casino narrative. This movie draws upon the history of the MIT Blackjack Team, successfully infusing elements of real-life drama into the storyline. The relatively fresh cast delivers a commendable performance, bringing their characters to life with convincing portrayals and varied personalities. The cinematography complements the plot's intensity, using vibrant hues and high-stakes scenes to create a visually engaging experience. Blackjack plays a pivotal role in the narrative, shaping the characters' decisions and driving the storyline forward. It's not just a game in this movie; it's a life-altering strategy that's both risky and rewarding. The clever use of blackjack undoubtedly enhances the film's overall quality, offering an intriguing glimpse into the strategic side of casino gaming. "The Last Casino" is a must-watch for anyone interested in a clever, captivating story set against the backdrop of high-stakes gambling.
2. 21 (2004)
"21", released in 2008, is an intriguing cinematic journey that fluently narrates the true story of a group of brilliant MIT students who use their mathematical prowess to outsmart Vegas. The film, while embellished for dramatic effect, presents an engaging exploration of the world of high-stakes blackjack, skillfully incorporating card-counting strategies and the adrenaline rush of winning.
The main plot revolves around Ben Campbell (Jim Sturgess), an ambitious and talented student, who is lured into the world of blackjack by his charismatic professor, Micky Rosa (Kevin Spacey). Spacey delivers a strong performance, though some critics have found his acting somewhat over-the-top. Sturgess convincingly portrays Campbell's transformation from a shy scholar to a high-rolling gambler, capturing the character's internal struggle between morality and greed.
Blackjack is not just a game in this movie; it's the central pivot around which the narrative unfolds. The game's strategic aspects are well-illustrated, adding depth to the storyline and enhancing the overall viewing experience. The film successfully captures the hedonistic joy of winning in Vegas, with the allure of wealth and the glamor of casino life vividly depicted.
Robert Luketic's direction successfully brings the drama and excitement of the casino floor to the big screen, although the film does fall into cliché territory, particularly towards the end. The pacing of the story is commendable, building tension effectively and keeping the audience engaged with unexpected twists and turns.
In terms of themes, "21" explores the seductive power of easy money, the ethics of card counting, and the consequences of unchecked ambition. Despite some criticism for its predictable plot and the over-dramatization of certain elements, "21" offers an entertaining watch, especially for those fascinated by the world of casinos and blackjack.
3. Croupier (1999)
"Croupier" (1999) is an intriguing and cerebral thriller that delves into the shadowy world of casinos through the eyes of Jack Manfred, a struggling writer played brilliantly by Clive Owen. Jack's transformation into a croupier provides the film's core narrative, with the game of blackjack serving as a metaphor for life's unpredictable twists and turns. The tension at the blackjack table mirrors the increasing strain on Jack's relationships and his inner conflict, making the game an integral part of the plot rather than mere background noise.
The performances are uniformly excellent, with Owen's voiceover adding a layer of introspection that elevates the film above typical noir fare. His portrayal of Jack's struggle with his identity and morality is captivating, and the supporting cast adds depth to the casino's seedy atmosphere. Director Mike Hodges' execution is commendable, balancing suspense and character development while maintaining a steady pace that keeps viewers engrossed.
The cinematography is atmospheric, effectively capturing the glitz and grime of the casino world. The film's music subtly enhances the mood, never overpowering the narrative but blending seamlessly into the background. The plot is well-crafted, with a surprise ending that adds a final twist to Jack's journey.
4. Mississippi Grind (2015)
"Mississippi Grind" (2015) is an engrossing road movie and gambling drama that delves into the lives of two gamblers, Gerry (Ben Mendelsohn), a down-on-his-luck real estate agent with a gambling addiction, and Curtis (Ryan Reynolds), a charismatic drifter who befriends him. The film, directed by Anna Boden and Ryan Fleck, is steeped in a melancholic tone that reflects the desperation and hope that coexist in the world of gambling.
The game of blackjack in "Mississippi Grind" serves as a significant plot device, acting as both a source of hope for the characters and a symbol of their self-destructive tendencies. The allure and unpredictability of the game mirror the ups and downs the characters face on their journey, reflecting their quest for redemption and escape from their past mistakes.
Boden and Fleck use a variety of techniques to make the card games distinctive and engaging. The directors employ tight close-ups of the players and the cards, creating a palpable sense of tension and stakes. The atmospheric soundtrack and the moody lighting further enhance the suspense, making each game feel like a life-or-death situation for the characters.
The performances by Mendelsohn and Reynolds are compelling, with both actors effectively portraying the desperation and optimism inherent in their characters. Their chemistry adds depth to their relationship, making their shared journey feel authentic and emotionally resonant.
5. Holy Rollers: The True Story of Card Counting Christians (2011)
"Holy Rollers: The True Story of Card Counting Christians" (2011) is an intriguing documentary that explores the unlikely convergence of faith and high-stakes gambling. The film follows a team of devout Christians who have become one of the most successful blackjack teams in America, using their card-counting skills to win millions from casinos.
The game of blackjack in "Holy Rollers" is not merely a game but a moral and spiritual conundrum for the team members. The tension between their religious beliefs and the underhanded tactics required for their success at the blackjack table forms the heart of the narrative. This tension drives the plot forward and forms the basis for the character's development throughout the film.
Director Bryan Storkel does a commendable job of capturing this journey, employing a cinéma vérité style that lends authenticity to the proceedings. The performances are not scripted, and the real-life characters come across as genuine and relatable. The use of music is subtle yet effective, enhancing the mood without distracting from the narrative.
The film explores themes of morality, faith, and the pursuit of earthly riches, with the game of blackjack serving as a mirror for these themes. The team members grapple with their actions, seeking to reconcile their faith with their actions at the blackjack table. This internal conflict adds depth to the film and engages the audience on an emotional level.
6. Rain Man (1988)
"Rain Man" (1988) is a profoundly moving drama that tells the story of Charlie Babbitt (Tom Cruise), a self-absorbed car dealer who discovers that his estranged brother Raymond (Dustin Hoffman), an autistic savant, has inherited their father's fortune. The film, directed by Barry Levinson, explores the evolving relationship between the brothers as they embark on a cross-country journey.
The game of blackjack plays a pivotal role in "Rain Man," symbolizing both the greed and the growing understanding between the two brothers. It is in Las Vegas, at the blackjack table, that Charlie truly begins to understand Raymond's extraordinary abilities and their potential value. However, it also serves as a metaphor for Raymond's rigid adherence to rules and routines, which contrasts sharply with Charlie's freewheeling approach to life.
One memorable scene involves Raymond using his savant skills to count cards at the blackjack table, winning big and drawing the attention of the casino security. This scene not only provides a thrilling moment of triumph but also reveals the exploitative nature of Charlie's initial intentions.
The dynamic between Cruise and Hoffman is key to the film's emotional resonance. Hoffman's portrayal of the autistic Raymond is deeply affecting, earning him an Academy Award for Best Actor. Cruise's performance as the initially selfish Charlie, who gradually grows to love and understand his brother, is equally noteworthy. Their evolving relationship forms the heart of the film, making "Rain Man" a touching exploration of familial bonds and personal growth.
7. The Cooler (2003)
"The Cooler" (2003), directed by Wayne Kramer, is a unique blend of drama and romance set against the backdrop of a Las Vegas casino. The film centers on Bernie Lootz (William H. Macy), an incredibly unlucky man employed as a 'cooler' – someone whose bad luck is so contagious that he's used to end the winning streaks of gamblers at the blackjack tables. This unusual premise intertwines the game of blackjack deeply into the narrative, using it as a metaphor for Bernie's own life - one of constant losses.
The game of blackjack in "The Cooler" catalyzes the plot and character development. Bernie's job as a cooler impacts the game significantly, adding an element of tension and unpredictability. His influence over the game mirrors his influence over the lives of those around him, including his boss Shelly (Alec Baldwin) and love interest Natalie (Maria Bello). When Bernie's luck starts to change after falling in love with Natalie, it not only affects his personal life but also disrupts the balance at the blackjack tables
8. The Hot Shoe (2004)
"The Hot Shoe" (2004) is a riveting documentary directed by David Layton that delves into the world of card counting, a controversial technique often associated with the casino game of Blackjack, or 21. The film provides a historical overview of card counting and features interviews with several individuals who have mastered this art.
Black game, a term used to refer to various forms of manipulation and subterfuge in card games, plays a significant role in this documentary. In the context of the film, black game refers to the strategic use of card counting to gain an edge over the casino. The director himself, using $5,000 from the film's budget, learned these methods to provide an authentic depiction of the practice.
The characters in "The Hot Shoe" employ the black game as a tool for success, using intellect, play-acting, instinct, and arithmetic to tilt the odds in their favor. For instance, the film highlights the heroes of the black game - the card counters, who use a blend of mental agility and audacious bravado to outsmart the casinos.
However, the film does not shy away from showcasing the negative consequences of relying on the black game. It presents a balanced view by highlighting the pitfalls of card counting, including the risk of being caught and the high-pressure environment in which card counters must thrive.
From a critic's perspective, "The Hot Shoe" effectively portrays the use of black games within the casino setting. The film manages to depict both the thrill of successfully employing card-counting strategies and the inherent dangers that come with it. By doing so, it offers an insightful look into a fascinating, albeit contentious, aspect of casino culture.
9. Casino Royale (2006)
"Casino Royale" (2006), directed by Martin Campbell, is a thrilling exploration of James Bond's (Daniel Craig) first mission as a 00 agent. The film pits Bond against the menacing Le Chiffre (Mads Mikkelsen), a banker who caters to the world's most notorious terrorists. The narrative primarily hinges on a high-stakes game, not of blackjack, but of poker, at Casino Royale, Montenegro.
Campbell's vision for this Bond installment was to ground it in a more realistic and gritty world, a stark departure from some of the more flamboyant entries in the franchise. This is nowhere more evident than in the pivotal poker game, which substitutes for the traditional action set-pieces that the series is known for.
While the film may lack a focus on blackjack, it still incorporates elements of gambling through a central emphasis on poker. The poker game scene in this movie is a nerve-wracking blend of strategy, bluffing, and tension, encapsulating the psychological warfare often associated with such games. Each player attempts to outmaneuver the other, all while maintaining an outward appearance of calm.
From a critical standpoint, the poker scene effectively captures the essence of high-stakes card games. The director skillfully uses close-ups, music, and lighting to heighten the suspense, creating a palpable tension that keeps viewers on the edge of their seats. However, some elements, such as the astronomical stakes and dramatic 'tells', might seem exaggerated for cinematic purposes.
Despite this, the poker game significantly contributes to the overall mood of the film, injecting a layer of psychological intrigue and intensity. It profoundly impacts the character development, particularly for Bond, whose victory cements his status as a formidable 00 agent and sets the stage for his future missions.
10. The Gambler (2014)
"The Gambler" (2014), directed by Rupert Wyatt, is a gripping drama that delves into the high-stakes world of gambling. The film stars Mark Wahlberg as Jim Bennett, a literature professor who leads a double life as a compulsive gambler. Set against the backdrop of the seedy underbelly of the gambling scene, the film follows Jim's desperate attempts to pay off his debts while also dealing with his turbulent personal life.
In the film, while blackjack doesn't feature as a central theme, the essence of gambling and its impact on the protagonist's life is profoundly explored. One of the most notable scenes involves Jim going broke at Lee's casino, where Amy, one of his brightest students, works. This scene effectively uses the suspense and tension inherent in gambling to underscore Jim's self-destructive behavior and his struggles with addiction.
The character of Jim is a complex one, torn between his addiction and his desire for a better life. Wahlberg delivers a compelling performance, capturing the desperation and reckless abandon of a man teetering on the edge.
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Best Movies About Gambling Features Film Threat
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[
""
] | null |
[
"Chris Gore",
"Film Threat Staff"
] |
2024-05-14T15:05:24-07:00
|
The theme of gambling appears in almost every second Hollywood film. The director can add these plots as secondary or build around the casino the whole line of the script. Films of this format have interesting characters, and intricate plots, and sometimes include detailed biographies of representatives of the gambling industry. By the way, any
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https://filmthreat.com/wp-content/uploads/2019/12/favicon.ico
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Film Threat
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https://filmthreat.com/features/best-movies-about-gambling/
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The theme of gambling appears in almost every second Hollywood film. The director can add these plots as secondary or build around the casino the whole line of the script. Films of this format have interesting characters, and intricate plots, and sometimes include detailed biographies of representatives of the gambling industry.
By the way, any new Aussie online casino has a selection of unique slot machines. Slots tell about popular motion pictures or are built around famous Hollywood characters and actors.
The Big Game, 2017
The film is a biography of one of the most famous women in the world of poker. Molly Bloom does not see her life without sport, but at a certain point, she is forced to leave her profession. In order not to be left without sustenance, Molly goes to Los Angeles in search of a better life.
Quite by chance, Bloom stumbles upon an advert with a vacancy in an illegal casino. From this moment begins a new chapter in Molly’s story. Intellectual savvy helps Bloom not only to play poker skilfully. Soon the former sportswoman organises a closed private gambling club, whose clients become stars of politics and show business from different parts of the country.
Twenty-One, 2008
People often come to casinos looking for quick and big money. This film confirms this trend. And this time the client of the gambling club is not a slacker from the street, but a promising scientist.
Ben Campbell easily enters Harvard and shows outstanding results in mathematics. However, to study in an elite institution you have to pay a lot of money. To continue his studies, Campbell needs to find at least $300,000.
Professor Mickey Ross notices the young mathematician’s abilities and decides to help him. Ross offers Ben to join a secret team, which is engaged in the fact that beats the local casinos. The professor himself cannot get into any gambling club. The name of the scientist is in the rumour because in his youth he beat almost all local gambling halls in blackjack.
This story has a real basis. A group of students from the Massachusetts University of Technology made a tour of famous casinos. The mathematicians managed to earn hundreds of thousands of dollars thanks to a unique blackjack card counting system.
Va Bank, 2013
This is one of the first films that raises the topic of online casinos. The story is about a student Richie Furst. A young guy studies at a prestigious university, and in his spare time, he plays poker and attracts new customers to online casinos. The game is successful because Richie’s father is a former professional player who won few awards.
At a certain point, First decides that with gambling is time to quit. On his last game he bets everything he has, not doubting his victory. However, this time Fortune turns away from Richie. The protagonist loses all his savings.
Richie believes that he is the victim of an online cheat. To find out whether this is true or not, Furst goes to Costa Rica. He wants to find the owner of the online casino and return the lost money.
The plots of casino films are built around ups and downs, losses and wins. There are no universal strategies that would help players to earn regularly. Everything depends on luck, and any attempts to cheat the system lead to failure.
However, there are in the gambling industry really lucky people who by chance became millionaires. True, the weak point of any gambler is a thirst for profit. Many gamblers who became millionaires overnight, lost their wealth in a day because of the desire to win more.
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http://www.cherrysuedointhedo.com/2015/02/the-gambler-movie-review.html
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CherrySue, Doin' the Do: The Gambler
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[
"Sue Jordan"
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Irish Beauty Blog with a Tongue in Cheek Lifestyle Twist
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http://www.cherrysuedointhedo.com/favicon.ico
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http://www.cherrysuedointhedo.com/2015/02/the-gambler-movie-review.html
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6232
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http://nappertime.com/the-ten-best-gambling-and-poker-films/
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https://livius1.com/2017/04/03/the-gambler-from-natchez/
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The Gambler from Natchez
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[
""
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[
"Colin McGuigan"
] |
2017-04-03T00:00:00
|
I remember when I was first toying with the idea of starting up a blog on movies, almost ten years ago now, and wondering about whether or not I wanted to focus on certain genres or types of film. Back then lots of the big entertainment sites took what looked like a shotgun approach of…
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en
|
Riding the High Country
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https://livius1.com/2017/04/03/the-gambler-from-natchez/
|
I remember when I was first toying with the idea of starting up a blog on movies, almost ten years ago now, and wondering about whether or not I wanted to focus on certain genres or types of film. Back then lots of the big entertainment sites took what looked like a shotgun approach of covering as wide a range of material as possible and I felt the best way to break into this digital scribbling was to specialize. The question though was what to specialize in. I eventually settled on writing primarily (though by no means exclusively) on westerns of the classic era as that was, and remains, my favorite area. But I’d mulled over a focus on noir thrillers (which do figure fairly prominently as it stands) and even war movies for a while. Another genre that I recall giving some thought to was the swashbuckler/adventure picture yet I ultimately felt that had limited appeal. Anyway, all this leads me in a slightly circuitous way to The Gambler from Natchez (1954), something of a hybrid which blends together elements of both the swashbuckler and the western to produce a pretty enjoyable confection.
We follow Vance Colby (Dale Robertson) on his way back to New Orleans having served in the army of Texas under Sam Houston. The uniform tells us Colby is a soldier, and a run in with an ill-tempered card player reveals his familiarity with games of chance. The fact is he’s the son of a renowned gambler and immensely proud of it too. His defense of the honor of his family leads to a fight (the first of many) and also the acquaintance of a kindred spirit in Antoine Barbee (Thomas Gomez) and his spitfire daughter Melanie (Debra Paget), two people who will figure prominently in events to follow. In brief, Colby is soon to learn that his father is dead, slain after being accused of cheating at a game of Blackjack. It looks very much as though the three men responsible, led by foppish but ruthless plantation owner André Rivage (Kevin McCarthy), had other reasons for the killing, and the rest of the tale is taken up with the unraveling of their scheme and the quest for justice.
I’ve tagged The Gambler from Natchez as a western here even though, as I mentioned earlier, it’s at best a hybrid form with arguably more of a swashbuckling flavor about it. However, I hope the presence of Robertson (and to some extent Paget) and a story from the pen of Gerald Drayson Adams makes my stretching of the definitions of the genre just about permissible, but I won’t mind if anyone strongly objects. Director Henry Levin moves everything along at a nice even pace, never getting bogged down in unnecessary asides nor skimming over the important parts. Cameraman Lloyd Ahern ensures everything looks as sumptuous as possible while Levin get maximum impact from the action set pieces – a nocturnal chase through the reeds and a brace of duels, one with pistols and the other with rapiers.
Dale Robertson was very much a western star. Sure he worked in other genres but even a quick glance through his filmography shows how much it leans towards the Old West. A film like The Gambler from Natchez called for his customary ruggedness and also a degree of suavity that we don’t always see. It’s a balancing act which I reckon he pulls off perfectly successfully – the polish of the climactic duel with McCarthy standing as proof of that. And McCarthy was one of the most versatile actors to ply his trade in Hollywood, taking on heroic and villainous roles as lead or support with ease – he’s likely most famous for his work in Don Siegel’s Invasion of the Body Snatchers. Suffice to say he sneers with some style in this movie. Debra Paget’s looks meant she was an ideal fit for westerns and exotica alike. She’s very good as the fiery river denizen with a particularly determined streak and plays well off the cool Robertson. Thomas Gomez is another of those whose presence I always appreciate in a film. He could bring tragedy and pathos to his parts as in Force of Evil yet also possessed a lovely light touch and indulged in that latter quality here.
The Gambler from Natchez has been released in the US as a MOD disc from Fox and had also available in Spain as a pressed DVD via Fox/Impulso for some time before that. I have that Spanish disc which presents the film in what I take is an open matte transfer – IMDb suggest the correct aspect ratio is 1.66:1 and that may or may not be right, I’d have thought anything up to 1.78:1 would be possible. That aside, the movie looks reasonably good, a bit of a clean up would bring out more detail and perhaps add a bit more pop to the colors, but it’s quite watchable as it is.
This is a film which is hard to classify neatly in any one genre, drifting between the western, the swashbuckler and the adventure yarn. None of that is especially important of course, what does matter is how effectively all these aspects come together. In my opinion, it all gels and therefore works. The film has no pretensions of being anything other than a smooth piece of entertainment and goes about its business with style, excitement and wit. A good film.
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6232
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1
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https://catalog.afi.com/Catalog/moviedetails/55232
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en
|
Catalog
|
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[] |
[
"The Gambler",
"Karel Reisz",
"Ted Zachary",
"Tom Lofaro",
"Irwin Winkler",
"Robert Chartoff",
"James Toback",
"James Caan",
"Paul Sorvino",
"Lauren Hutton",
"Morris Carnovsky",
"Jacqueline Brookes",
"Burt Young",
"Carmine Caridi",
"Vic Tayback",
"Steven Keats",
"London Lee",
"M. Emmet Walsh",
"James Woods",
"Carl W. Crudup",
"Allan Rich",
"Stuart Margolin",
"Ric Mancini",
"Joel Wolfe",
"Ray Serra",
"William Andrews",
"Joseph Attles",
"Antonio Fargas",
"Ernest Butler",
"Sully Boyar",
"Gregory Rozakis",
"Starletta De Paur",
"Lucille Patton",
"Ed Kovens",
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"Richard Foronjy",
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"Frank Scioscia",
"Phil Sterling",
"Patricia Fay",
"Beatrice Winde",
"Leon Pinkey",
"Alisha Fontaine",
"Presley Caton",
"Mitch Stein",
"Jonathan Koshner",
"Charles Polk",
"Dick Schaap",
"Chick Hearn"
] | null |
[] | null |
After racking up a debt of $44,000 in one night of gambling, English literature college professor Axel Freed apprehensively drives to his morning class. During his lecture, Axel endeavors to convince pragmatic African-American student Spencer of author Fyodor Dostoyevsky’s view that will and desire can overcome any circumstance. Later, Axel visits his girl friend Billie, who is stunned when he casually reveals that amount of his gambling debt. Axel then visits his mother Naomi, a physician, and after a game of tennis over lunch, asks her for ten thousand dollars. Aware of her son’s gambling habit, Naomi demands to know if he owes that amount, but Axel hastily explains that he only wants to know if he can count on her should he need it. Disturbed by his cavalier attitude, Naomi departs angrily. That afternoon, Axel meets Carmine, an associate of club owner, Monkey. On the way to meet a loan shark, Carmine asks Axel to accompany him to the apartment of another debtor, whom he non
|
en
|
/favicon.ico
|
https://catalog.afi.com/Catalog/moviedetails/55232
|
After racking up a debt of $44,000 in one night of gambling, English literature college professor Axel Freed apprehensively drives to his morning class. During his lecture, Axel endeavors to convince pragmatic African-American student Spencer of author Fyodor Dostoyevsky’s view that will and desire can overcome any circumstance. Later, Axel visits his girl friend Billie, who is stunned when he casually reveals that amount of his gambling debt. Axel then visits his mother Naomi, a physician, and after a game of tennis over lunch, asks her for ten thousand dollars. Aware of her son’s gambling habit, Naomi demands to know if he owes that amount, but Axel hastily explains that he only wants to know if he can count on her should he need it. Disturbed by his cavalier attitude, Naomi departs angrily. That afternoon, Axel meets Carmine, an associate of club owner, Monkey. On the way to meet a loan shark, Carmine asks Axel to accompany him to the apartment of another debtor, whom he nonchalantly beats for non-payment. Telling Axel he has forty-eight hours to meet his obligation to Monkey’s organization, Carmine drops him off at a restaurant to meet loan shark Bernie. When Axel reveals that he earns fifteen hundred dollars a month and has no collateral, Bernie scoffs at his request for $20,000, prompting Axel to walk out. Back at his apartment, Axel meets his waiting bookie, Hips, who is disappointed that Axel does not yet have the money. When Hips warns Axel not to go to another bookie to make the money gambling, Axel insists he will find it on his own. The next day, Axel attends a large family gathering to celebrate the eightieth birthday of his grandfather, retired grocery chain owner A. R. Lowenstein. While dancing with Naomi, Axel assures her he has no need of the money, but she remains doubtful. Later, Axel invites his mother to the beach, and while she wades in the surf, he writes the amount of his debt in the sand. Stunned when Axel confesses he owes that amount, Naomi berates her son for his involvement with criminals and wonders how she could have raised someone with such low morals. Ignoring Naomi’s distress, Axel asks if she intends to help him and she responds by slapping him. Later, however, Naomi gives Axel the money but cautions him to consider what he is doing with his life. After leaving a message with Hips that he has the money, Axel invites Billie to his afternoon lecture, in which he discusses the way in which writers have expressed the need for risk-taking and embracing change. Afterward, Axel takes Billie to A. R.’s well appointed home, and while she swims, Axel’s grandfather advises him that Billie is too common for him. Driving away, Axel stops at a phone booth to arrange a bet on college football games and grows angry when the bookie refuses unless he provides cash up front. Driving away recklessly, Axel disregards Billie’s alarm and, stopping again at another phone booth, calls the bookie back and insists he has the cash and bets $45,000 on various teams. Infuriated by Axels’ rashness, and realizing he intends to use his debt payment money to cover the bet, Billie leaves the car, determined to walk home. Picking her up further down the road, Axel impulsively invites her to fly with him to Las Vegas. Upon arriving there hours later, Axel hits a lucky streak in roulette and twenty-one at various casinos, using the money from Naomi. At one hotel bar, Axel cheerfully watches the sports report and learns that the college teams he has bet on are all ahead, although still playing. Content when his winnings reach $45,000, Axel stops gambling and the next day he and Billie return to New York. Soon after Axel and Billie arrive at his apartment, sports-bookie Jimmy arrives, nervous because Axel has been away, and demands his payment for the football games debt. Confused, Axel tells Jimmy that he owes him, but Jimmy points out that the teams Axel selected ultimately all lost. Stunned, Axel turns over his entire Vegas winnings to the delighted Jimmy. A few moments after Jimmy departs, Axel races after him to arrange a $50,000 bet on a professional basketball game in progress. When Jimmy insists that Axel must provide the cash up front, Axel gives him Naomi’s money, to Billie’s dismay. Later, Axel explains to Billie that his pleasure in gambling comes from his satisfaction in overcoming his fear of losing and in being in control of his destiny, but she remains saddened by his actions. Anxious over the latest bet, Axel listens to the game on the radio and hears his team lose. Visiting Hips the next morning, Axel confesses that he does not have the money, after which the bookie gives him an additional twenty-four hours. Axel then goes to Monkey and pleads that he be allowed to make a small wager on another sports game to earn his repayment. Monkey agrees, and although Axel wins, the amount is a trifle, which angers Hips. Upon visiting Billie, Axel is frustrated when she tells him they need time apart. While reflecting in a park later, Axel is chased and picked up by two men who take him to a warehouse. There he meets the head of the gambling syndicate, One, who asks Axel how he intends to meet his debt, which ultimately rests with him. Admitting that his mother is “tapped out,” Axel hints that he might ask his grandfather for the amount. Declaring that he has known and respected A. R. for over thirty years and that he is "no schmuck," One reveals he has already asked him for the money and been refused, which stuns Axel. When Axel admits under questioning that one of his students, Spencer, is the star of the basketball team, One orders him to fix their next game to win by under seven points. When Axel protests, One informs him he has no choice in the matter. That afternoon, Axel summons Spencer to his office and uncomfortably offers him five thousand dollars to fix the next game. Shrewdly aware of Axel’s gambling predilections, Spencer agrees, but with the stipulation that it is a one-time situation and he will only deal with Axel. Before the game, Axel visits A. R. and confesses that he feels let down by his grandfather’s refusal to pay his debt and for his association with One. A. R., a self-made millionaire, sharply reprimands Axel for misjudging him and states he dealt with One only when he “had to.” Disappointed by Axel’s naïveté, A. R. nevertheless asks if he needs assistance, but the disillusioned Axel departs for the game. After Spencer performs as expected, Hips cheerfully greets Axel to report One is satisfied and the debt has been repaid. When Hips expresses hope that the game-fixing might continue, however, Axel insists that it is not possible. Refusing Hips’s invitation to dinner, Axel walks to an African-American neighborhood and at a bar, picks up a prostitute whose pimp is then furious when Axel refuses to pay him. In a cheap hotel room, Axel tries to goad the pimp into killing him, then beats him when the man hesitates. After the terrified hooker slashes Axel across the face with a knife, Axel stumbles downstairs to the hotel lobby where he faintly smiles after catching sight of his bloodied face in a mirror.
|
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6232
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2
| 72
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https://www.pokernews.com/news/2020/03/gambler-kenny-rogers-passes-away-at-81-leaves-poker-legacy-36847.htm
|
en
|
“The Gambler” Kenny Rogers Passes Away at 81; Leaves Enduring Poker Legacy
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"Chad Holloway"
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2020-03-21T16:11:50+00:00
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Country Music Hall of Famer Kenny Rogers passed away of natural causes at age 81. He left behind a poker legacy including the legendary song "The Gambler."
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https://www.pokernews.com/news/2020/03/gambler-kenny-rogers-passes-away-at-81-leaves-poker-legacy-36847.htm
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On Friday, March 20, legendary musician Kenny Rogers passed away from natural causes at the age of 81. The three-time Grammy Award winner’s career spanned six decades and saw him release 65 albums and sell more than 165 million records.
Rogers also had a special connection to the poker world thanks to one of his songs that imparted the wisdom – “You've got to know when to hold 'em, know when to fold 'em.”
“The Gambler series has always held a special place in my heart."
Inducted into the Country Music Hall of Fame in 2013, Rogers had 24 No. 1 hits in his career, including his 1978 hit The Gambler, which won a Grammy for “Song of the Year.” The song tells the story of the narrator meeting a man on a train known only as the gambler, who imparts sagacity such as “you never count your money when you’re sittin’ at the table” and “know when to walk away and known when to run.”
The song was actually written by Don Schlitz and performed by several other artists before Rogers made it his own.
Check out the history of "The Gambler" here.
The song inspired five TV movies from 1980-1994 with Rogers serving as the gambler, who for the sake of the show was named Brady Hawkes.
“The Gambler series has always held a special place in my heart,” Rogers once said. “I loved making those films that grew out of a character in one of my favorite songs.”
The Gambler at the 1979 WSOP
In 1979, Rogers made an appearance at the World Series of Poker at Binion’s Horseshoe to sing The Gambler. Not only that, the song served as the theme song for the broadcast of that year’s WSOP Main Event on CBS.
Ironically, Rogers wasn’t much of a poker player himself.
“It’s so funny, because every time I go places now, people will say to me, ‘you gotta know when to hold’em and know when to fold’em,'” Rogers told host Frank Glieber at the WSOP. “And I keep thinking about how many times I’ve sat down at these tables and didn’t know when to hold ’em and when to fold ’em.”
In 2014, Rogers starred in a Geico commercial where he reprised a gambler role, thus continuing the song's decades-long run as poker's unofficial theme song.
PokerNews offers condolences to Rogers' friends, family, and fans the world around.
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http://www.uk-21.org/gambler.shtml
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21.org: Review of 'The Gambler'.
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UK-21.org: Review of 2000 documentary 'The Gambler', written by and starring Jonathan Rendall.
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The Gambler
Channel Four, 2000
Jonathan Rendall was a talented, award-winning, author and broadsheet columnist up until his untimely death in January 2013 at the age of just forty eight. I missed seeing all three parts of this Channel Four documentary when it was re-screened shortly afterwards, and have finally got around to doing so - they're still available to be viewed at Channel Four's on-demand archive, and run to around fifty minutes each.
Fairly compelling viewing; keeping tabs on Mr R as he punted away twelve grand of Channel Four's money in pursuance of a profit (he was broke) and two and a half hours of telly. It offers viewers a rare insight into the mind of a lifetime degenerate gambler, and provides a glimpse of the mindset that keeps so many of a similar disposition from calling it a day even when they're on their uppers. This wasn't the first time he'd taken up this particular baton either - a publisher had made a similar offer two years before, for exactly the same amount, with the proviso that he recorded his experiences in print at the end of the exercise regardless of whether he came out of it a winner or not. I haven't read "Twelve Grand", although having watched this documentary in full now I may just go out and pick up a copy.
Over three instalments, Mr R travels widely; to Lingfield and Cheltenham races (where he's left in mild shock after dropping a grand on a single bad bet), down to London, to Alice Springs in Australia, Macau, back to the UK and then several stop-offs in the States before finally reaching Las Vegas. During these excursions he bets various proportions of his bankroll on the GGs, across the felt of a blackjack table in the Salon Privee of an up-market London casino (and quits while ahead), blows a ton on scratchcards bought from a highstreet newsagent, some on the slots in a "family entertainment" centre in Oz, some more on some Australian GGs, returns to the UK and has a little under half of it left when he leaves for America. Here, he's robbed in New York, bets more on the GGs, gets smashed with one of the local good-time girls in Las Vegas, takes on the wheel of doom, loses some in double quick time at blackjack, interviews a notorious cheat in the state pen, tries his luck counting cards ("luck" being the operative word) and is eventually left holding just $300 of his original bankroll. Ironically his last but one punt, a hefty bet on a boxing match, pays off and he finishes the experiment with a little under $5,000 in hand. A virtual fairy tale ending and a result for him, although I expect Noel, his bookie, laid claim to a hefty chunk of it.
Disappointingly, there's no real conclusion to this documentary - just a final shot of him in his hotel pool before the final credits run. I couldn't help feeling the end bit had been left off in order that filming could be wound up the same day. No final word on the whole escapade, no reflections on his wins and losses or what he'd be returning home to, no empty promises around learning from the experience nor reflections of how gambling had impacted upon his life, just Mr R getting a couple of lengths in, whilst no doubt thinking about his next bet. Perhaps he did film something and chose to edit it out in favour of letting viewers draw their own conclusions from what they'd seen? After the programme was completed, Mr R published a journal he'd rustled up for the Observer, entitled "Losing it in Public", which is still available to read and adds some additional insight into the man himself.
Although I never met him in person, Jonathan Rendall was quite clearly several marks above the wider field when it came down to the art of words. It seemed, though, that he'd simply surrendered to his gambling addiction and was content to ride the roller-coaster that resulted; with Channel Four's proposition being just an excuse for another day out at the theme park. Perhaps they might have offered to pay for a bout of rehab, assuming Mr R was up for it of course, which would have been a tad more beneficial and possibly just as interesting as a spectator sport? A great waste when someone with an Oxbridge education, and a literary prize winner, is left considering whether to get a job behind a bar (probably not a good idea in his case), or "driving a cab around Cambridge" as a means of making enough to cover the basics. Clearly something had gone wrong somewhere, and that something was no doubt largely to do with the spectre of addictive gambling - ever present and fatal when combined with an irregular income occupation and a propensity for the booze.
I've read several reflections of Jonathan Rendall's life, but the best one without doubt is the obituary written by Kevin Mitchell, a sportswriter who'd met Mr R many years before. Well worth a read if you've got this far.
Here's a couple of examples of Jonathan Rendall's work, which give an indication as to why he was rated so highly as a writer. Enjoy.
"Look who's talking" - The Guardian, 3rd October 2004
"Why me, Mum?" - The Guardian, 20th July 2006
All three episodes of The Gambler can be viewed at:
www.channel4.com/programmes/the-gambler/on-demand
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Silver Emulsion Film Reviews
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2018-02-23T00:00:00
|
King Gambler [賭王大騙局] (1976) Starring Chung Wah, Chen Kuan-Tai, Chen Ping, Shut Chung-Tin, Ou-Yang Sha-Fei, Wang Hsieh, Ku Feng, Fan Mei-Sheng, Teresa Ha Ping, Chui Ga-Lam, Wong Chung, A Mei-Na, Chan Mei-Hua, Liu Wu-Chi, Ma Chien-Tang, Chan Shen, Kong Yeung, Ku Wen-Chung, Terry Lau Wai-Yue, Ling Yun, Shum Lo, Yeung Chi-Hing, Cheng Miu, Wong Ching-Ho,…
|
en
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Silver Emulsion Film Reviews
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https://www.silveremulsion.com/2018/02/23/king-gambler-1976/
|
King Gambler [賭王大騙局] (1976)
Starring Chung Wah, Chen Kuan-Tai, Chen Ping, Shut Chung-Tin, Ou-Yang Sha-Fei, Wang Hsieh, Ku Feng, Fan Mei-Sheng, Teresa Ha Ping, Chui Ga-Lam, Wong Chung, A Mei-Na, Chan Mei-Hua, Liu Wu-Chi, Ma Chien-Tang, Chan Shen, Kong Yeung, Ku Wen-Chung, Terry Lau Wai-Yue, Ling Yun, Shum Lo, Yeung Chi-Hing, Cheng Miu, Wong Ching-Ho, Lau Luk-Wah
Directed by Cheng Kang
Expectations: Super excited to see more Cheng Kang… and it’s a gambling movie!
There are many gambling movies from all over the world, but the Hong Kong gambling film is a beast all its own. I am a huge fan of this sub-genre of Hong Kong cinema, and of the filmmaker most associated with it: Wong Jing. Over the course of my chronological Shaw Brothers series, I’ve covered a couple of early gambling films (The Casino, The Gambling Syndicate), but those films feel like extensions of the traditional action genre more than they resemble what the gambling genre evolved into. King Gambler, on the other hand, is right on the money when it comes to tone and style. The film was clearly an influence on Wong Jing, as both directors showcase similar ideas and sensibilities in how they portray gambling and the people involved in the games. As such, I really enjoyed Cheng Kang’s King Gambler. Apparently 1976 Hong Kong shared my enthusiasm, too, because the film made #9 at the yearly box office (with only a couple of Shaw films doing better that year).
King Gambler is a structurally interesting movie. It begins by introducing us to the Sha family and how their mastery in sleight of hand and other forms of trickery were passed down from one generation to another. We then see a short game of mahjong, in which one of the Sha family members (played by Shut Chung-Tin) beats the young Peng Tian Shi (Chen Kuan-Tai). The resentment of being so resoundingly beaten does not sit well with Peng, and when the film flashes forward many years, Peng is now a wealthy casino owner known as The Card Tyrant. He has not risen above his feelings surrounding the Sha family, though. Peng offers an elder Sha (Wang Hsieh) a job, but he refuses to use his superior hearing skills to cheat for Peng. Retaliation comes swift and brutal, leaving the elder Sha permanently blinded. This is merely the first few minutes of the film; the prologue. The majority of the movie concerns itself with the young members of the Sha family and how they deal with Peng in the wake of this offense.
The film is broken up into sections with title cards such as: “Scene No. 1 – Trick of Tricks” or “Scene No. 3 – Crook of Crooks,” etc. Each of these sections shows a con that the Sha family pulls on Peng. Different members of the Sha family possess different strengths, and each of them is employed to undermine Peng and systematically break down all of his defenses and buffers. It’s similar to a heist film, but instead it’s a grand swindle in the name of revenge. It is not enough to simply kill Peng or beat him up, they intend to strip his entire life away from him in as many aspects as possible. Many of Wong Jing’s gambling films are ultimately about this sort of thing as well, but in his films the grand swindle is generally hidden until the end of the film (for the most part). Cheng Kang revels in it, allowing the audience to come along for the ride to serve up cold, calculated revenge.
Being in on it all robs the film of the natural tension you’d usually see in something like this, especially if you’re familiar with a lot of the gambling film set-ups and tropes. It’s important to remember two things, though. The first is that in 1976 many of these tropes were still brand new and fresh to the genre. The second is that the tone of the film does not require the natural tension to succeed. They may be systematically destroying Peng, but they’re doing so jovially and with assured ease. They play him and his associates like skilled jazz musicians running through scales. No matter how serious King Gambler gets at times, it is a light, fun-filled film. The swing between dramatic and comedic tones is never as wild as in a Wong Jing film, but it is there, it is intentional, and it is pure Hong Kong fun. When thrilling tension is required (such as during the film’s brilliant denouement), it is present in spades. The film does run a bit long at 119 minutes, but the power and energy of the finale’s tension obliterated any concerns I had about the film’s length. It is a tour-de-force of gambling filmmaking, providing a basic framework that is still the backbone of the genre.
King Gambler does not showcase any martial arts to speak of, and the action it does have is mostly of the card or mahjong tile variety, but I’m glad I reviewed the film in its contextual place in the Shaw catalog. It’s an important film in the gambling genre, it was a big hit, and it’s just a great film. If you enjoy Hong Kong gambling films, King Gambler is a definite must see.
Next up in this chronological journey through the Shaw Brothers Martial Arts catalog is Chang Cheh’s Shaolin Temple! See ya then!
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https://www.spoilertv.com/2024/07/poker-movies-ten-of-best.html
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Poker Movies: Ten of the Best
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2024-07-22T16:59:00+01:00
|
Poker Movies: Ten of the Best
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SpoilerTV
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https://www.spoilertv.com/2024/07/poker-movies-ten-of-best.html
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Poker has long been a staple in the movies, with the tension, drama, and intrigue of the simple yet complex game attracting punters from the best newbettingsites UK and non-gamblers alike.
The allure of high-stakes gambling, with its blend of strategy, luck, and human psychology, has proved irresistible for many directors. This territory has been explored so often, that only the true die-hard would attempt to watch EVERY poker-related movie, but here we pick out ten of the best.
10. Smart Money (1931)
Smart Money stands out as one of the earliest films to focus on poker. It tells the story of Nick the Barber, who moves from his small-town poker games to the big city, where he faces off against professional gamblers. The film’s backdrop of the Great Depression adds a layer of social commentary, portraying poker as a means for an ordinary man to challenge the system. Although dated by today’s standards, it’s a fascinating glimpse into the early days of poker in cinema.
9. Molly’s Game (2017)
Molly’s Game follows the true story of Molly Bloom, an Olympic skier whose career ends abruptly due to an injury. Faced with a new direction in life, she turns to organizing high-stakes poker games, which ultimately leads her into the world of underground gambling. The film is more than just a portrayal of poker; it’s a tale of personal resilience and redemption. Bloom's journey through triumphs and setbacks mirrors the unpredictability of the game itself, offering a compelling narrative about rebuilding one’s life after a significant fall.
8. Finder’s Fee (2001)
In Finder’s Fee, a group of friends plays a weekly poker game with lottery tickets as the stakes. The discovery of a winning ticket in a lost wallet brings a tense moral dilemma to the forefront. The film explores how greed can corrupt and unravel even the closest relationships. Despite its low profile and limited reviews, Finder’s Fee offers a gripping narrative about human nature and the consequences of greed, anchored by strong performances and a well-crafted script.
7. Poker King (2009)
Set in Macau, Poker King revolves around a man-child who must prove his maturity by winning a poker tournament to inherit his father’s company. Despite its seemingly formulaic plot, this Hong Kong film offers a fresh perspective on poker, infused with cultural charm and genuine passion. The movie’s earnest approach to poker and its vibrant portrayal of the game’s impact on its characters provide a unique and enjoyable viewing experience.
6. The Grand (2007)
The Grand is a mockumentary that captures the wild, chaotic spirit of the poker boom. It follows several eccentric characters participating in "The Grand," a no-limit Texas Hold’em tournament with a winner-takes-all prize. The film is a hilarious and satirical take on the poker boom era, reflecting the absurdity of the time. It’s a loving homage to the frenzy that surrounded poker’s rise to mainstream popularity, making it a nostalgic piece for poker enthusiasts.
5. Luna’s Game (2001)
In Luna’s Game, Luna, following in her deceased father’s footsteps, is drawn into the world of poker despite its dangers. The film portrays poker as both a passion and a burden, showing how deeply it can become entwined with one’s identity. Luna’s struggle with her love for the game and the personal cost of her involvement offers a poignant examination of poker’s impact on individual lives.
4. Mississippi Grind (2015)
Mississippi Grind tells the story of Gerry, a struggling poker player, and Curtis, a seasoned gambler. Their road trip to New Orleans in hopes of turning their luck around serves as a backdrop for exploring themes of friendship and redemption. The film delves into the dynamics of gambling as both a career and a coping mechanism, emphasizing the emotional rollercoaster that often accompanies life as a gambler. Curtis's unwavering support for Gerry, despite his obvious flaws, highlights the deeper connections that can form through shared experiences in the world of poker.
3. The Cincinnati Kid (1965)
The Cincinnati Kid features Steve McQueen as a young poker player eager to prove himself against the reigning champion, "The Man." While its portrayal of poker might not be entirely realistic (most notably in the (in)famous) final hand, the film is celebrated for its intense drama and McQueen’s compelling performance. The climactic poker game is a memorable depiction of the high stakes and personal ambition that drive the characters, cementing its place as a classic in poker cinema.
2. California Split (1974)
California Split delves into the lives of two gamblers, Bill and Charlie, who embrace a hedonistic lifestyle fuelled by poker. The film captures the excitement and chaos of professional gambling while also reflecting on its toll. It presents an unflinching view of the gambling life, celebrating its thrills while also acknowledging its potential pitfalls. The film’s candid portrayal of gambling culture provides valuable insight into the allure and challenges of a degenerative lifestyle.
1. Rounders (1998)
Rounders remains the quintessential poker movie. It follows Mike McDermott (Matt Damon), a law student and poker player who aims to become the best in the game. The film’s strength lies in its raw depiction of poker as a pursuit of excellence and personal validation. It resonates with viewers through its portrayal of determination and skill, capturing the essence of poker as both a challenge and a passion. Rounders has set the benchmark for poker films, celebrated for its authentic depiction of the game and its universal themes of ambition and mastery.
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https://www.gambling.com/uk/online-casinos/strategy/11-best-gambling-movies-of-all-time-18200
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11 Best Gambling Movies of All Time
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"Jamie Casey"
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2021-11-26T13:55:00+00:00
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Gambling.com ranks the top 11 gambling movies ever made. Find out what we've named the best of all time!
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en
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https://objects.kaxmedia.com/auto/o/106217/104bd4e641.ico
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https://www.gambling.com/uk/online-casinos/strategy/11-best-gambling-movies-of-all-time-18200
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Article By
Jamie Casey
Expertise
Responsible Gambling, Football Betting, Boxing Beting, GAA Betting
Experience
Jamie is a sports writer and editor with extensive experience in the sports betting industry. His work has previously appeared in publications such as FourFourTwo, Boxing News, RTÃ, Sky Sports, The Irish Post, The Unibet Blog, Bleacher Report and a string of Irish national newspapers.
Read Full Bio
Last Updated: Nov 26, 2021
© PA
Many of the best gambling films follow a similar path to one another. They often depict a very specific genre on a low budget and tend not to be instant hits, but they enjoy an indelible place in the minds of anyone that enjoys the excitement of taking a gamble.
Only one on this list of gambling films has been inducted into the National Film Registry and just two took home awards at the â but perhaps a lack of recognition is key to a movie becoming a cult classic?
Whether any more of these gambling movies will be preserved by the remains to be seen â itâs doubtful â but in the meantime you can start crossing them off your âones to watchâ list on Netflix, Prime, YouTube or wherever you get your film fix.
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The Gambler (1974)
Aptly named, The Gambler tells the story of a university professor â played by a compelling James Caan â who has an addiction to casino gambling. As the film continues, we see Caanâs character plunge into self-destruction and his mental state become increasingly precarious.
As his borrowing becomes steadily worse and his need for thrills threatens to endanger his life, the film builds to a steady crescendo and brilliant climax.
A classic gambler movie, this one came out in 1974 but even today it serves as a pretty severe warning against addiction â of any kind â and to always . Don't bother with the 2014 re-make starring Mark Wahlberg, the original is where it's at.
Uncut Gems (2019)
One of the best gambling movies on Netflix for sure. Adam Sandler puts in a career-best performance as Howard âHowieâ Ratner, a bungling New York City jeweller who just canât resist the risky business of high-stakes sports betting.
Far from a typical Adam Sandler film, Uncut Gems is darker than it is comical â although itâs not without its wit â and Howieâs chaotic descent into financial turmoil and knack for associating himself will dodgy characters make for a tense viewing.
NBA betting plays a central part of the storyline, with former Boston Celtics and Brooklyn Nets centre Kevin Garnett excelling in a support role, playing a fictionalised version of himself (the film is set in 2012, when Garnett was a star player for the Celtics).
The intensity may be exhaustive for non-gamblers, but those of us who enjoy the thrill of sports betting will be able to sympathise with Sandlerâs character, however much of a degenerate gambler he may be. This movie provides another stark reminder that you should never gamble more than you can afford to lose.
High Roller: The Stu Ungar Story (2003)
Released just a few months before Chris Moneymaker won the 2003 World Series of Poker main event, this movie â titled âStueyâ and âHigh Rollerâ in some countries â came out a little too soon to cash-in on the poker boom of the mid-2000s.
Despite a low budget and written and directed by A.W. Vidmer, who has no other film credits on his resume, this is a well-crafted biographical movie portraying, in its entirety, the life Stu Ungar, the only three-time Wold Series of Poker winner.
No high-octane thriller, the film chronicles the descent of an intelligent young man with great promise, who becomes addicted to drugs, and gambling funds those habits by his phenomenal poker playing skills. As devastating as it is entertaining, for many, High Roller: The Stu Ungar Story will be something of an undiscovered gem.
Mollyâs Game (2017)
Renowned screenplay writer Aaron Sorkin, best known for A Few Good Men, The West Wing, and Moneyball, made a fine debut as a director with Mollyâs Game. Based on her memoirs, this fast-paced 2017 release relays the true story of Molly Bloomâs exclusive underground poker club for wealthy high rollers.
What makes this movie stand out from the others on the list is the lead character being a female in the male-dominated gambling business, but Jessica Chastain's portrayal of Bloom is as masterful as they come. Idris Elba also excels in the support role, while cameo appearances from Chris O'Dowd and Joe Keery (Stranger Things) add a welcome touch of humour.
The film will leave you wondering which actually took part in the games Bloom hosted in LA and New York in the late 2000s, and goes someway to establishing who the âPoker Princessâ had in her phonebook.
Rounders (1998)
If The Stu Ungar Story hit the big screen a few years too early, Rounders is simply ahead of its time. Featuring a baby-faced Matt Damon and youthful Edward Norton, this 1998 release is the tale of a law student burning the candle at both ends by playing poker at night to fund his tuition fees.
Rounders was filmed long before had become a global phenomenon and so the backdrop to this film is seedy New York clubs with a single visit to the Taj Mahalâs card room in Atlantic City.
A dark movie with a stellar cast â relatively low budget despite John Malkovich and Martin Landau having large roles â the script has you cheering for Damonâs âgood guyâ character from the outset. You will not need to be a poker player to appreciate the storyline, but if you are you will enjoy the authenticity of the poker scenes.
The Cincinnati Kid (1965)
The Cincinnati Kid chronicles a tense, exciting and dramatic marathon game of poker between a rising young star and a cagey old pro. Steve McQueen is the cool, detached hot shot and his adversary, Lancey Howard, played by Edward G. Robinson, displays nerves of steel, razor sharp instincts and a veteran's poise as the two players probe each other, searching for openings and seeking any advantage, however subtle.
Both performances are excellent and have good support from a solid cast of veteran actors. The opening scene is riveting, and while the female actresses are a bit too glamorous to be believed and the poker hands are statistically nearly impossible to appear in the same game, the ending of The Cincinnati Kid is unusual and unpredictable which helps cement this poker film as an all-time classic.
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21 (2008)
Set in the era when shuffle machines were still a thing of fiction, 21 is the fact-based story about six MIT students who were trained to become experts in card counting and subsequently took Las Vegas casinos for millions.
The storyline features Kevin Spacey, playing maths professor Micky Rosa, educating a flock of young disciples how to play an optimum and winning Blackjack strategy. Adrenaline-fuelled trickery, betrayal and hedonism follows, meaning the cornerstones of Bringing Down The House, the book the film was based on, are intact but there is plenty of snappy, hip, fast-paced entertaining scenes to colour this big budget production.
Oh, and a word of warning, if you are not familiar with the phrase âwinner winner, chicken dinnerâ you might find yourself saying it a lot after watching this two-hour flick.
Rain Man (1988)
Not a gambling film by design but a âroad movieâ with a big segment set in Las Vegas, Rain Man earned four Oscars (including Best Picture, Actor and Director) and has become the benchmark for movies depicting characters with autism.
When you consider the best horse racing films ever made, there would be no Seabiscuit without Phar Lap. Similarly, if there was not a Rain Man, there would probably be no Forrest Gump. It really was a landmark release in film history.
This Tom Cruise and Dustin Hoffman collaboration is another to show blackjack can be beaten and it signposts the dim view Vegas casinos have traditionally taken on card counters. Every casino scene in the movie is realistic and it is fascinating to see both Vegas and its casinos as they were over three decades ago.
The Hustler (1961)
This one has been , meaning it is considered culturally, historically, or aesthetically significant.
A classic any way you view it, The Hustler depicts a small-time pool hustler who travels cross-country with his partner and earns good money via gambling. But his self-destructive attitude and big mouth force him to challenge legendary player âMinnesota Fatsâ.
Shot and released in an age when online gambling was not even close to being a concept, this is no laugh-a-minute rib-tickler. Instead, The Hustler is a cynical and incredibly cold movie from start to finish.
There's not an ounce of humour in it, none whatsoever, yet itâs still one of the best sports gambling movies ever made. That said, do not expect a film full of games of pool with trick shots galore either. But if you are a first-timer viewer of this black and white masterpiece, it will have you gripped. It was the movie which turned Paul Newman into a superstar and it is easy to understand why.
The Sting (1973)
Three years The Hustlerâs junior, The Sting stars Paul Newman and Robert Redford as a pair of old-time scammers who team up to pull off the ultimate con. It is a follow-up to their earlier collaboration Butch Cassidy and the Sundance Kid.
This time the fix is in, the odds are set, and the boys are ready to play for the big time, both on the screen and behind the camera in this breezy, endlessly entertaining movie classic â set in the mid 1930s â which took the Best Picture Oscar in 1973.
So full of twists and turns at every unexpected moment, The Sting â which features plenty of poker and a phony off-track betting operation â never stops drawing you into all of its traps. All of it is performed at a fast clip and the performances have all the nuances needed to keep you entertained and in suspense.
Casino (1995)
In 1995, for a fifth time, Robert De Niro and Joe Pesci teamed up to make Casino. It had been five years since the pair had taken the world by storm with the acclaimed gangster epic Goodfellas, which was directed â like Casino â by Martin Scorsese.
Casino is a lesser acclaimed gangster epic with similar themes, narrative, style and casting but, set entirely in Las Vegas, it is possibly the most famous of all gambling movies. Positively gruesome in some places, it's not one for the faint-hearted.
There are no tense poker hands, no pool hustling, no odds-fixing nor true love story, yet itâs widely considered one of the best Vegas movies.
The film is a factual tale of greed, deception, money, power and murder. But such is this action-packed depiction of Vegas during the final years of its gangster control, you easily forget gambling is not the theme of the film, it is only the common denominator which brings all the elements together.
Delve deeper into the brilliance of this Scorsese masterpiece with our full nod to the greatest gambling film of all time.
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'Online Casino of the Year' 2018-2023
'Mobile Operator of the Year' 2023
Exclusive 'LeoJackpot' Online Slot Games
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
50x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
97
Casino Games
The total number of all casino games available
2500+
Live Casino Games
The total number of Live Dealer casino games available
250+
Leo Vegas has won multiple industry gambling awards, including 'Online Casino of the Year' at the Global Gaming Awards six years in a row. Notably, they offer a lot more Live Dealer casino games than most other UK casinos.
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Dual Casino & Sportsbook Platform
Live Casino Fan Zone: Football Themed Games
24/7 Live Chat Support
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
40x
Payout Time
The usual withdrawal processing time
Instant
Our Rating
Gambling.com's rating of this casino site out of 100
94
Casino Games
The total number of all casino games available
2200+
Live Casino Games
The total number of Live Dealer casino games available
150+
talkSPORT BET online casino is the latest addition to the talkSPORT network which has been providing the latest sports news since 2000. They offer an exclusive 'Live Casino Fan Zone' with football themed roulette and blackjack games.
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'Slots Operator of the Year' 2021
Sponsors of ITV's Celebrity Juice Show
All Promotions 100% Wagering Free
Bonus Code
The code required to claim this sign-up bonus (if any)
GCOM100
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
0x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
96
Casino Games
The total number of all casino games available
1300+
Live Casino Games
The total number of Live Dealer casino games available
40+
MrQ Casino will be familiar to many from their 'No Nonsense' advertising campaigns ('You Win Some, You Lose Some') and sponsorship of ITV2âs comedy panel game Celebrity Juice. They are also official partners and shirt sponsors of Watford FC.
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Daily 10% Cashback of Losses for UK Customers
'Marvellous Midweek' - Weekly Promotions
Regular Casino Tournaments & Challenges
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
35x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
97
Casino Games
The total number of all casino games available
2200+
Live Casino Games
The total number of Live Dealer casino games available
100+
All British Casino is an unashamedly red, white and blue online casino experience, including its Royal Air Force target logo along with other iconic British imagery.
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No Wagering Requirements, Ever!
'Mobile Casino Product of the Year' 2023
'Slots Operator of the Year' 2023
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
0x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
96
Casino Games
The total number of all casino games available
5500+
Live Casino Games
The total number of Live Dealer casino games available
300+
PlayOJO market themselves as 'The Fair Casino' and their unique OJOplus feature gives you free money back on every bet you make, win or lose. They also offer players daily 'Kicker' promotions and sponsor the daily Channel 5 PlayOJO Live Casino Show.
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Wide Selection of Live Casino Games
Regular Free Spins & Slots Tournaments
Quick & Simple 2-Step Sign-Up Process
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
35x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
93
Casino Games
The total number of all casino games available
2100+
Live Casino Games
The total number of Live Dealer casino games available
150+
Magic Red Casino offers the standard mix of traditional casino games and slots, but it's their Live Casino that really shines through for us, with many different Live Dealer Blackjack, Baccarat and Roulette variations, plus Texas Hold 'Em and Three Card Poker.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New Customers only. Min dep (Excl PayPal) £10 for 20 slots bonus and 100 extra spins. Game restrictions apply. Extra Spin value @10p/spin. Extra spins and Bonus Wagering 30x and Maximum winnings to cash is 4x.18+. Full terms apply. - Full Terms Apply
Faster Withdrawals - 80% Within 10 Minutes
'Must Drop' Daily Jackpot Slot Games
Earn As You Play Loyalty Points
Bonus Code
The code required to claim this sign-up bonus (if any)
RW100
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
30x
Payout Time
The usual withdrawal processing time
Instant
Our Rating
Gambling.com's rating of this casino site out of 100
82
Casino Games
The total number of all casino games available
2200+
Live Casino Games
The total number of Live Dealer casino games available
50+
Regal Wins Casino is a simple but stylish online casino that promises you'll get 'the royal treatment'. Their 'Faster Withdrawal' process means that you can get any winnings back in your bank account within 10 minutes.
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'Must Drop' Jackpot Slot Games
Faster Withdrawals - 80% Within 10 Minutes
Earn 'Moolahs' & Redeem for Bonuses
Bonus Code
The code required to claim this sign-up bonus (if any)
MV50
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
30x
Payout Time
The usual withdrawal processing time
Instant
Our Rating
Gambling.com's rating of this casino site out of 100
95
Casino Games
The total number of all casino games available
2200+
Live Casino Games
The total number of Live Dealer casino games available
50+
Magical Vegas Casino's motto is 'Bring Home the Magic' and they offer a variety of Opt-In promotions, including free spins, tangible prizes, trips and cash bonuses.
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Fiery Devil Themed UK Casino
Regular Casino Tournament Prizepools
Daily Spin Frenzy Challenges
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
35x
Payout Time
The usual withdrawal processing time
48 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
93
Casino Games
The total number of all casino games available
2100+
Live Casino Games
The total number of Live Dealer casino games available
150+
666 Casino offers to 'relight your fire' with their devilish casino site, one of many themed UK casinos on the respected Aspire Global International platform which boasts a huge selection of live dealer blackjack and roulette tables.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New Players Min. deposit £20. UK players. Max. bonus 1st deposit 100% up to £50 and 2nd deposit 50% up to £100. 35x wagering applies, within 21 days. 20 spins on 1st deposit and 30 spins on 2nd deposit. Spins expire after 24 hours. Full T&Cs apply.
Regal Themed Casino Site
Monthly Slots Tournaments & Daily Prize Drops
'Wager Free Wednesday' Free Spins
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
35x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
89
Casino Games
The total number of all casino games available
2200+
Live Casino Games
The total number of Live Dealer casino games available
150+
King Casino is one of various UK casino sites on the Aspire Global casino platform, which means regular slots promotions and the widest selection of live casino tables for all stake levels.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New customers only, min deposit £10, wagering 40x, max bet £5 with bonus funds. Max bonus is 100% up to £100. No max cash out on deposit offers. Welcome bonus excluded for players depositing with Skrill or Neteller. - Full Terms Apply
Weekly 'Mysteryspins' Promotion
Compete in Tournaments & Challenges
Unlimited Daily 10% Cashback Insurance
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
40x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
95
Casino Games
The total number of all casino games available
2700+
Live Casino Games
The total number of Live Dealer casino games available
90+
CasinoCasino promise 'Double the fun' and offers a mixture of classic and modern casino games, plus free spins every Sunday via their weekly Mysteryspins promotion.
#ad. 18+. Gamble Responsibly. Gambleaware.org. 18+ New customers only. Opt in, deposit, and wager a min of £10 on selected games within 7 days of registration. Get a 3x £10 Casino Bonus Funds for selected games and 30 Extra Spins on Fishin' Frenzy. Offer valid until 23:59 UK time on 31.12.24 Debit card / Apple Pay payments only. T&Cs apply, see below. gambleaware.org | Please gamble responsibly
Long Established UK Sportsbook & Casino
Brand Ambassadors Harry Redknapp & Rachael Blackmore
Live Chat Support Available 24/7
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
40x
Payout Time
The usual withdrawal processing time
Instant
Our Rating
Gambling.com's rating of this casino site out of 100
85
Casino Games
The total number of all casino games available
2700+
Live Casino Games
The total number of Live Dealer casino games available
150+
BetVictor's online casino was launched back in 2000 and we particularly enjoy their exclusive Sports Roulette table with live sports streamed as you play.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New Players Only. BeGambleAware.org Minimum Deposit £20,40x Wagering in 7 days, Deposit played first, Max Bet £5, Max Win applies., Certain games excluded, Spin value £0.1 each. 50 Extra Spins Available Within 24 Hours of Claiming The Bonus Deposit and another 50 Spins Available 24h later. Full T&Cs apply. Take time to think.
Combined Lottery & Casino Platform
Join Lotto Syndicates to Increase Chance of Win
Daily Jackpots & Instant Wins
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
40x
Payout Time
The usual withdrawal processing time
Up to 3 working days
Our Rating
Gambling.com's rating of this casino site out of 100
91
Casino Games
The total number of all casino games available
2300+
Live Casino Games
The total number of Live Dealer casino games available
100+
LottoGo is notable for allowing UK players to bet on the results of worldwide lotteries. Alongside their lottery offering is an impressive range of classic casino games, including over 50 live dealer blackjack tables.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New players only, min deposit £10, wagering 45x, max bet £5 with bonus funds, 100% up to £100 bonus on 1st deposit. No max cash out on deposit offers. Welcome bonus excluded for players depositing with Skrill or Neteller. Full T&Câs apply
Speedy Withdrawal Times
10% Cashback Every Day
Recurring 'Hyper Fridays' Rewards
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
45x
Payout Time
The usual withdrawal processing time
Instant
Our Rating
Gambling.com's rating of this casino site out of 100
73
Casino Games
The total number of all casino games available
2600+
Live Casino Games
The total number of Live Dealer casino games available
90+
Hyper Casino has an extremely easy-to-use interface with an broad selection of table and slot games. Their name and logo suggest speed is of the essence and this is reflected in their promise of prompt withdrawal times.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New customers only. You must opt in (on registration form) & deposit £20+ to qualify. Offer valid 7 days from registration. Debit card deposits only. Welcome Bonus: 100% match bonus up to £50 on 1st deposit. 50x wagering applies (as do weighting requirements). Extra Spins: Awarded on Big Bass Splash once you have staked £20. Spin value = 20p. No wagering requirements on extra spin winnings. Full Terms Apply
Live-Streamed Hippodrome Grand Roulette
50 Spins Every Day you Deposit £50+
24/7 Live Support & Fast Withdrawals
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
50x
Payout Time
The usual withdrawal processing time
Instant
Our Rating
Gambling.com's rating of this casino site out of 100
79
Casino Games
The total number of all casino games available
500+
Live Casino Games
The total number of Live Dealer casino games available
30+
Hippodrome brings their award-winning Leicester Square casino online, where you can find a good selection of jackpot slots, plus blackjack and roulette tables streamed live from the iconic London venue.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New customers only. Opt In required. £/â¬10 min stake on Casino slots within 30 days of registration. Max bonus 200 Extra Spins on selected games credited within 48 hours. Extra Spins expire after 7 days. iOS app restrictions may apply. Email/SMS validation may apply. Not available in NI. Full T&Cs apply.
Dual Casino & Sportsbook Platform
Up to 200 Free Spins Every Week
Dedicated 24/7 Customer Support
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
1x
Payout Time
The usual withdrawal processing time
48 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
78
Casino Games
The total number of all casino games available
700+
Live Casino Games
The total number of Live Dealer casino games available
80+
Betfred Casino offers a varied selection of table games and slots - including Jackpot King, Mega Jackpots and Mega Moolah progressive jackpot slots.
#ad. 18+. Gamble Responsibly. Gambleaware.org. | 1st deposit only | min deposit £10 | max bonus £100 | X40 wagering | bonusspins valid for selected games only | X40 wagering on bonus spins winnings | expires within 24 hours | user agreement & bonus T&C's apply.
Earn up to 200 Bonus Spins Daily
Up to 20% Weekly Cashback Bonus
Trade in VIP Points for Bonus Money
Bonus Code
The code required to claim this sign-up bonus (if any)
WINO100
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
40x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
93
Casino Games
The total number of all casino games available
450+
Live Casino Games
The total number of Live Dealer casino games available
110+
Winomania Casino is a 'boutique' online casino which boast a variety of unique games and jackpot slots. Players can get free spins by depositing daily too.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New player only. 7 days to claim offer and deposit a min of £10 with a further 7 days to wager 35x. Cash stakes only and wagering contributions vary. Max reward £150. 50 wager-extra spins 0.10p each on Big Bass Splash awarded after wagering complete, winnings paid as cash. 3 day expiry. - Full Terms Apply
'Lady Friendly' Dual Casino & Bingo Platform
Part of Award-Winning Leo Vegas Group
Regular Free Chips Promotions
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
35x
Payout Time
The usual withdrawal processing time
48 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
82
Casino Games
The total number of all casino games available
1200+
Live Casino Games
The total number of Live Dealer casino games available
110+
Pink Casino calls itself the 'ultimate lady friendly online casino' and is brought to you by the multi-award-winning casino operator Leo Vegas. Of course, all genders are welcomed and there a notable variety of jackpot slots for you to enjoy.
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Colourful & Fun Bingo/Casino Site
'Bubble Pots' Progressive Jackpots
Win up to £750 with Daily Free Games
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
1x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
85
Casino Games
The total number of all casino games available
650+
Live Casino Games
The total number of Live Dealer casino games available
30+
Double Bubble Bingo Casino offers plenty of regular promotions including play for free games - with the chance to win free spins and cash prizes.
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Awarded âOperator of the Yearâ 2020
Various Exclusive Monopoly Slot Games
Free-To-Play 'Monopoly Daily Free Parking'
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
1x
Payout Time
The usual withdrawal processing time
12 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
82
Casino Games
The total number of all casino games available
700+
Live Casino Games
The total number of Live Dealer casino games available
40+
MONOPOLY Casino is built around the family favourite board game, but itâs not just MONOPOLY-themed slots youâll find here - register to pass 'Go' and take a 'Chance' at this award winning online casino.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New members only, must opt in. Min £10 deposit & wager (excl. sports betting). 30 day expiry from deposit. 18+. Extra Spins: on Double Bubble. 1p coin size, max lines. Game availability & restrictions apply.
Awarded 'Operator of the Year' 2020
Dual Online Casino & Bingo Platform
'Joy Points' Loyalty Scheme
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
1x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
81
Casino Games
The total number of all casino games available
700+
Live Casino Games
The total number of Live Dealer casino games available
40+
Jackpotjoy is part of the Gamesys Group which has various gaming brands including Virgin Games and Rainbow Riches Casino. The Jackpotjoy TV ads featuring comedian Paddy McGuinness will be familiar to many.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New players only. Opt-in Required. Wager from real balance first. 40X wager the bonus and the winnings from extra spins. Contribution varies per game. Selected games only. Wager calculated on bonus bets only. Bonus valid 30 Days from receipt/extra spins valid for 7 days from issue. Max conversion: 3x for the bonus. Max conversion for extra spins: £100. Limited to 5 brands within the network. Excluded Skrill and Neteller deposits. Withdrawal requests voids all active pending bonuses. Full Terms Apply
Awarded âBest New Slots Siteâ 2023
Choose Your Own Loyalty Rewads
Birthday & Anniversary Gifts
Bonus Code
The code required to claim this sign-up bonus (if any)
L200V
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
40x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
83
Casino Games
The total number of all casino games available
2500+
Live Casino Games
The total number of Live Dealer casino games available
80+
Las Vegas Casino is a top quality casino site with over 5,000 slots and live table games to choose from. They have a fortune wheel to earn bonuses, a great loyalty scheme and a blog section giving you expert casino advice.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New members only. Must sign up via this offer link. Wager within 7 days of reg. Accept Extra Spins on Big Bass Bonanza via pop up within 24 hrs of qualifying (10p spin value, 3 days expiry). Click here for full T&Cs. Bet Responsibly. BeGambleAware.org.
Dual Casino & Sportsbook Platform
Daily Free Game
Huge Collection of 'Jackpot King' Slots
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
0x
Payout Time
The usual withdrawal processing time
12 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
91
Casino Games
The total number of all casino games available
850+
Live Casino Games
The total number of Live Dealer casino games available
150+
LiveScore Bet was initially launched as a sportsbook, but now also offers a fully fledged online casino. Their games offering is very strong, while the constant stream of offers and casino promotions keep things interesting.
#ad. 18+. Gamble Responsibly. Gambleaware.org. 18+. New depositors & UK residents only. Min dep. £10. 10x wag. on winnings. Spins valid only on Starburst slot & valued at £0.10 each. Spins expire in 7 days. Excludes deposits made via Skrill, Entropay, Paysafecard & Neteller. T&Cs apply.
Dual Casino & Sportsbook Platform
Large Collection of Exclusive Slots
Personalised Casino Offers
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
10x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
91
Casino Games
The total number of all casino games available
4500+
Live Casino Games
The total number of Live Dealer casino games available
250+
Bwin is a member of the Entain family (Ladbrokes, Coral, BetMGM) and offer a sleek website design that hosts a top-quality casino/sportsbook product. The games library boasts thousands of casino games from top developers, as well as plenty of exclusive titles only available here.
#ad. 18+. Gamble Responsibly. gambleaware.org. T&C Apply
Simple No-Frills Games Lobby
Monthly Tournaments with Big Cash Prizes
Quick & Simple 2-Step Registration
Bonus Code
The code required to claim this sign-up bonus (if any)
RICH300
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
40x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
80
Casino Games
The total number of all casino games available
2500+
Live Casino Games
The total number of Live Dealer casino games available
160+
Trada Casino keeps things simple with a stripped back website that focusses solely upon the casino games themselves.
#ad. 18+. Gamble Responsibly. Gambleaware.org. New players only. Min deposit £20. Max bonus 100% up to £25 on 1st deposit. 50 spins on specific game only on 2nd deposit. 35x wagering applies, within 21 days. Max wins from spins £100. Spins expire after 24 hours. Full T&Cs apply.
Up to 50 Daily Free Spins with 'Spin Frenzy'
Slots Tournaments & Daily Prize Drops
Extensive Range of Live Casino Games
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
35x
Payout Time
The usual withdrawal processing time
12 Hours
Our Rating
Gambling.com's rating of this casino site out of 100
88
Casino Games
The total number of all casino games available
2200+
Live Casino Games
The total number of Live Dealer casino games available
150+
Red Casino is another online casino brand on the renowned Aspire Global International platform and offers UK players a wide selection of 'Jackpot King' progressive jackpot slots games in its impressive games lobby.
#ad. 18+. Gamble Responsibly. Gambleaware.org. £20 min. deposit. £200 max match. 50x wagering on Bonus + Extra Spinswinnings. Extra Spins must be used to reveal paythrough. Game eligibility & contributions vary. 10p to £5 bet range. £1,000 max redemption. New players only. Exclusive to select customers. Limitied time offer. Valid 7 days. 18+. BeGambleAware.org. T&C's apply.
Exclusive Lottery 'Boost' Feature
Mega Moolah Jackpot Slots
Diamond Club Loyalty Scheme
Bonus Code
The code required to claim this sign-up bonus (if any)
not required
Bonus Wagering
The number of times you have to play through your bonus before you are able to withdraw any winnings
50x
Payout Time
The usual withdrawal processing time
24 Hours
Our Rating
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82
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81
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24 Hours
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85
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1200
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84
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Article By
Last Updated: Nov 26, 2021
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In and Drawing Dead (Movie Review: "The Gambler")
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2015-01-03T16:49:35+00:00
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Nolan Dalla reviews the movie "The Gambler," starring Mark Wahlberg, which is a disappointing remake of the rarely-seen 1974 classic starring James Caan.
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en
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Nolan Dalla
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https://www.nolandalla.com/drawing-dead-movie-review-gambler/
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All-In and Drawing Dead (Movie Review: “The Gambler”)
Gambling has never appeared so unbearably dull as in the dreadful remake of “The Gambler,” starring Mark Wahlberg, now out in theaters. This is a horrible movie.
The movie has about as much intensity as a losing keno ticket.
Based on a rarely-seen and little shown gritty 1974 masterpiece starring James Caan, this ill-advised reincarnation directed by Rupert Wyatt (“Rise of the Planet of the Apes”) lacks any of the realism, the energy, the atmosphere, or the deeper philosophical undertones of the far more genuine original. Although the plot seems to be etch-a-sketched from the initial draft written 40 years ago, this is a totally different film. Unfortunately, nothing comes across as an improvement. This especially applies to a modified storybook ending.
The title protagonist, Jim Bennett (Wahlberg), has enjoyed a privileged life since birth. He grew up in a wealthy Southern California family, eventually became a published novelist, and now teaches literature at a prestigious university in Los Angeles. He’s good-looking, drives a fancy car, and lives in a million-dollar condo. He seems to have everything in life going for him. But that’s not enough.
Bennett has a not-too well-hidden darker side, which is the self-destructive compulsion to risk everything he can get his hands on (or borrow) in order to try and win it all, whatever “all” means. He gambles for more money than he makes in his modest salary or can possibly ever hope to repay, most of his action obsessively played out at a local underground casino owned by a Korean mobster. Despite running up ridiculous amounts of debt with various mob figures and loansharks, Bennett never seems to take his situation seriously. Not once does Bennett show fear or remorse. Never once does he reveal any awareness whatsoever of the danger he’s facing, owing so much money to the wrong people. By the way, one of these underworld figures is played somewhat amusingly by John Goodman, who shifts into badass overdrive and chews up every scene he’s in like a ham sandwich on rye. But even the beastly greatness of Goodman isn’t nearly enough to save a horrid film.
“The Gambler” has so many shortcomings that it’s difficult to know where to begin. But let’s start with the fatal flaw of making gambling boring throughout the story, which probably seems incomprehensible to anyone who’s ever wagered more than $25 on a hand of blackjack. How is this even possible? How are scenes littered with $40,000 bets — about what our hero makes in six month’s time — so utterly lifeless? At the very least, filmmakers could have portrayed the temptation of gambling as a sort of rush pipeline. Instead, we’re lulled into indifference by the time Bennett lays down his biggest bets, a fatefully problematic flaw in a story purportedly about gambling. Why should we even care about this loser at all, or want to know what happens to him? The trouble is, we don’t. He doesn’t care about his fate, so why should we? Indeed, there’s so little to care about. Nothing here to see. Time to move on, folks.
Bennett isn’t the least bit likable or sympathetic, which makes Wahlberg’s portrayal far less compelling to watch than Caan’s original effort. The first portrait was far edgier and revealed a dual personality which the remake lacks. This is a powerful distinction about most compulsive gamblers — and I’ve known many. Most of those afflicted with obsessive-compulsive disorders have a deep desire to be loved and appreciated, one of the motives that fuel their addiction. When compulsive gamblers win and have lots of money to spend, they’re often the life of the party. They love showing off. But not this guy (Wahlberg). The film flat-out gets it wrong and doesn’t make any attempt to reveal what compulsive behavior is really all about. Besides, even when he wins a bet or goes on a lucky streak, we all know he’s just going to gamble it away moments later.
Ho-hum. So much for drama.
Shooting on location in Los Angeles was a huge mistake. L.A. certainly has a vibrant gambling subculture, and could provide a ripe backdrop for a good script about a compulsive gambler (think “California Split”). Then again, it’s not exactly New York or Las Vegas. Manufacturing a seedy fictional underground club run by Asians which so easily hands out revolving quarter-million-dollar credit lines to teachers isn’t very realistic. Besides, there are plenty of real cardrooms where action could have taken place (Commerce, Bicycle Casino, etc.), casinos within a few hours drive (Morongo, Barona, etc.), or Las Vegas easily within reach. Yet, all the movie’s gambling action (limited to blackjack, roulette, and one bet on a college basketball game) takes place in just two places — the underground Asian club and one unnamed casino near Palm Springs. That’s it. This gambler sure doesn’t get out very much.
Wahlberg’s scenes as a college professor are abysmal. He insults everyone in his class, except for one pretty girl he announces as the most gifted writer of the bunch and the only student with any actual talent. Of course, this pretty young girl falls instantly for Professor Wahlberg, who isn’t exactly the ideal catch. Oh, what the hell, it’s a movie. Of course, she’s going to end up in bed with this loser. This contrived relationship is manufactured presumably to make Wahlberg seem more human. Instead, he ends up looking like even more of a jerk for the way he treats the girl. Then again, the foreseeable rejection is probably deserved. After all, she knew what she was getting into. What was she expecting, Tom Hanks?
Other characters in the movie are worth mentioning. Jessica Lange, who’s always reliable, plays Bennett’s lonely mother. She’s a terribly sad figure who tries her best to perform a good deed for her ungrateful son. Naturally, she too gets treated like shit. Then, there’s the legendary old teddy bear George Kennedy (yes, he’s still alive at age 91) who dies in the film’s opening scene. We’re not quite sure why this was relevant to the story, but it was sure nice to see Mr. Kennedy (a Best Supporting Actor Oscar winner for the 1967 classic, “Cool Hand Luke”) still working in Hollywood. One hopes the death onscreen was just an act.
For all its many flaws, “The Gambler’s” most unforgivable defects are failing to either be interesting or teach us anything. We learn nothing much about gamblers, gambling, compulsive gamblers, or the motive behind such self-destruction. The movie doesn’t even make the attempt to help us better understand troubled people with the compulsion to risk far more than they possess, ultimately alienating themselves from everyone else and ruining their lives.
An interesting side note about this subject matter was viewing the movie at a local Las Vegas movie theater. One presumes this slightly more sophisticated audience would be more intrigued by the topic of gambling addiction. Yet, I sensed most of those around me were just as uninterested. There were few laughs sprinkled during the evening showing and no real edge-of-your-seat moments. The two words I’d use to describe the film were “instantly forgettable.” Audiences in proverbial Peoria are likely to be even less intrigued, meaning this box office loser is probably destined for DVD within three months.
Once again, Hollywood has crapped out and gone bust. A major movie studio has made yet another horrible movie about gambling. Following the box office disasters and critical failures which include “Lucky You,” “Two for the Money,” and “Lay the Favorite” one now must seriously worry if films with gambling themes are becoming box office poison. Quick. Name the last good movie made about gambling? One expects a long pause here.
Too bad filmmakers didn’t have a little more gamble in them while making this movie. Instead, they didn’t just decide to play it safe. They didn’t even bother to toss the dice. Well, they lost anyway. And so did we.
Line away. Seven out. Pay the “don’t.” As in, “don’t bother” wasting your time or your money.
RATING: 1 STARS [ON A 1-10 SCALE]
Spoiler Alert: Late in the movie there’s a ridiculous scene where Wahlberg presumably wagers $260,000 in cash at a Las Vegas casino on a regular-season college basketball game. Such a thing wouldn’t be permitted. and even it if was accepted, the local FBI office in Las Vegas would be notified immediately. There’s no way a cash transaction of this size would ever take place in a regulated casino environment. Oh, and one more thing: Even after the quarter-million-dollar wager gets made, the game line doesn’t move!
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https://5pointz.co.uk/5-amazing-gambling-documentaries-on-netflix/
|
en
|
5 Amazing Gambling Documentaries on Netflix
|
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|
https://5pointz.co.uk/5-amazing-gambling-documentaries-on-netflix/
|
Netflix has become a treasure trove of content catering to various interests, and the world of gambling is no exception. From the high-stakes drama of casinos to the psychology behind professional gamblers, here are five compelling gambling documentaries on Netflix that provide a riveting glimpse into the thrilling and often unpredictable world of betting.
1) “Sour Grapes” (2016):
“Sour Grapes” explores the intriguing world of wine forgery but intertwines it with the high-stakes atmosphere of auctions and the gambling-like allure of rare and expensive wines. Directed by Jerry Rothwell and Reuben Atlas, the documentary delves into the story of Rudy Kurniawan, a connoisseur turned criminal mastermind who managed to deceive the elite world of wine collectors. The film serves as a captivating reminder that the excitement and risk-taking associated with gambling can extend far beyond the casino floor.
2) “Bet Big, Bet Often” (2020):
Directed by Paul DeNigris, “Bet Big, Bet Often” takes viewers into the heart of Las Vegas, exploring the lives of professional gamblers who navigate the city’s vast casino landscape. The documentary provides an intimate look at the challenges and triumphs of those who make a living from games of chance. From poker players to sports bettors, the film captures the diverse strategies and personalities that thrive in the gambling capital of the world.
3) “Life on the Line” (2016):
“Life on the Line” follows the lives of professional sports gamblers as they navigate the unpredictable world of betting on American football. Directed by Joe Schreiber, the documentary sheds light on the highs and lows of sports betting, highlighting the emotional rollercoaster experienced by those who invest their time and money in predicting the outcomes of games. The film provides a close-up view of the dedication and expertise required to succeed in the competitive realm of sports gambling.
4) “Inside the Edge: A Professional Blackjack Adventure” (2019):
For those fascinated by the strategic side of gambling, “Inside the Edge” offers a detailed exploration of professional blackjack play. Directed by Chris Buddy, the documentary follows a group of skilled blackjack players as they employ card counting and other techniques to gain an edge over casinos. The film showcases the intellectual prowess and teamwork required to outsmart the house in one of the most iconic casino games. “Inside the Edge” provides a behind-the-scenes look at the world of advantage play and the challenges faced by those seeking to beat the odds.
5) “Holy Rollers: The True Story of Card Counting Christians” (2011):
Directed by Bryan Storkel, “Holy Rollers” presents a unique angle on professional gambling by focusing on a group of blackjack players who happen to be devout Christians. The documentary explores the moral and ethical considerations of card counting and the clash between the players’ faith and their pursuit of financial success through gambling. “Holy Rollers” offers a thought-provoking examination of the intersection between religion, strategy, and the thrill of the game.
Conclusion:
These five gambling documentaries on Netflix provide a diverse and captivating look into the multifaceted world of betting. Whether exploring the intricate dynamics of wine auctions, the challenges of professional sports gambling, or the strategic brilliance behind blackjack card counting, these films offer a rich tapestry of stories that will appeal to both gambling enthusiasts and documentary aficionados. So, roll the dice, hit play, and get ready for a journey into the highs, lows, and complexities of the gambling universe, all from the comfort of your Netflix account.
Photo: Pixabay (free)
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https://www.nytimes.com/2015/10/05/magazine/the-perfect-predictability-of-gambling-movies.html
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en
|
The Perfect Predictability of Gambling Movies
|
[
"https://static01.nyt.com/images/2015/10/05/magazine/05mag-gambling/05mag-gambling-articleLarge.jpg?quality=75&auto=webp&disable=upscale"
] |
[] |
[] |
[
""
] | null |
[
"Jay Caspian Kang"
] |
2015-10-05T00:00:00
|
They’re irresistible not because we want to find out how they end, but because we already know.
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/2015/10/05/magazine/the-perfect-predictability-of-gambling-movies.html
|
Last winter, I found myself in card clubs again. Maybe every 10th or 11th day, nothing too disturbing. I haven’t been a good card player for years; at some point, you simply accept that you’re not playing to win, at least not to win consistently. This might sound like a problem, but when you’re losing only what you can afford to lose, the guilt can be rationalized away. You could have paid for a nice dinner and a nice bottle (or two) of wine with the money you lost tonight, but that dinner would have lasted only two hours at most, and you played cards for six hours – and so forth.
On one of these nights, I met a 23-year-old kid who grew up in my hometown. He told me that he had dropped out of college after his freshman year to have a go at professional poker. He was doing pretty well, all things considered — he made enough money to pay rent, buy clothes and attend music festivals. What else does a 23-year-old need in New York City?
This kid beat me in a hand for about $180 that night, but we formed a friendship. I would text him, and he would invariably be playing somewhere in the city, and I would head down, dump a few chips and talk to him about hand strategy, game selection, poker theory — all the things I was interested in when I was a younger, more optimistic card player. We took a few road trips to Atlantic City, where we were comped rooms thanks to the off-season and urban decay. He would almost always win, and although I wasn’t winning or losing any more than usual, I felt, for the first time in years, the insane yet pleasant hope that I might start winning. The kid made it seem possible.
In July, he went to Las Vegas to play in the World Series of Poker. I staked part of his buy-in to one of the tournaments, and he sent me updates throughout his run to a respectable finish in the money. Then, for the next five days, I didn’t hear from him at all. Anyone who has watched a gambling movie knows what happened to the kid in Vegas and can guess what kept happening once he got back to New York.
Every gambling story ends the same way. This, oddly enough, is what makes it the perfect narrative for movies. The American epic requires an easy binary, preferably one that connotes complexity without actually being complex. All of gambling’s conflicts — the swings between debt and no debt, the blunt debauchery and the blunter piety — can be clearly broadcast across Paul Newman’s beautiful face. The director of a gambling film really needs only an actor who suffers well and the courage to clear everything else off the table.
Plot lines within the genre are simple by necessity. There is really only one: the gambler falls into debt; the gambler goes after one big score to get even; the gambler either does or does not get even. The variations on that story depend, mostly, on whether the filmmaker sees gambling as a catastrophic vice or a charming hustle.
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| 10
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https://www.pokertube.com/article/mark-wahlberg-the-gambler-poker-movie-review
|
en
|
The Gambler: Poker Movie Review
|
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""
] | null |
[
"Jon Pill"
] |
2017-02-12T10:13:28+00:00
|
By day, Mark Wahlberg's character is an unconvincing and frequently cringe-worthy literature professor, while at night he is a degenerate gambler with a death wish.
|
en
|
PokerTube
|
https://www.pokertube.com/article/mark-wahlberg-the-gambler-poker-movie-review
|
10:13
12 Feb
The Gambler was not a success when it came out. At all. Despite a great cast. Despite the director, writer, and source material - Rupert Wyatt, William Monahan and James Caan’s 1974 cult classic. The box office takings were poor, and the reviews tepid.
Which is a shame. Because it’s really quite good, damn the other critics.
The Plot
The movie follows Marky-Mark’s character as he struggles in an existential void for a week. By day he is an unconvincing and frequently cringe-worthy literature professor, while at night he is a degenerate gambler with a death wish.
On the week in question his night-life has saddled him with a number of debts to the kind of people you don’t want to owe, and they are all about to come due.
What follows is an atmospheric movie, driven by long silences punctuated by stylish – if occasionally overblown – dialogue, the best of which is delivered by Michael Kenneth Williams’ deeply sinister loan shark, and by John Goodman, who gets probably the most quotable scene of the movie:
From that point on, the question is: will Marky-Mark learn to walk when the time comes? Will he get to ‘fuck you’?
Uneven and Ambitious
The humor is dry and mostly works, the theme’s are well patterned, and Wahlberg does an excellent line in flippant degenerate, if an unconvincing professor. His performance is prickly and unlikeable, but charismatic enough to keep you engaged.
Where the film excels is in the atmosphere. It has that slow 70s style which I liked so much in Mississippi Grind, and unhealthy lighting in washed out blues and deep shadows, with a soundtrack album full of eerie twangling covers of old jukebox favorites.
There’s no scene where someone explains blackjack, no one calls out the scores. They just take the chips from the losers and give them to the winners. Simple, visual storytelling.
There are also cringe inducing set pieces, mostly in the classroom. Marky-Mark quoting Shakespeare and tackling the burden of genius along with the anti-stratfordians is a risible watch.
Alison Brie is given very little to do, and although she sets up one or two good one liners she’s mostly there to serve as a cypher onto which Marky-Mark can project. What exactly we’re supposed to make of a character who sits by herself while her date plays blackjack all night isn’t entirely clear.
In Short
Overall Wahlberg’s headlong rush towards self-annihilation has the compulsive watchability of a car crash in slow motion. There is also something almost comical in the grim ratcheting up of his increasingly self-destructive behavior that is managed with a very light touch and moments of flippant comedy.
From the reviews I have read, it sounds like if you have seen the original, this movie fails to justify its own existence. For me, who had not seen the James Caan version, I thought it was an excellent if uneven watch.
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https://www.kennyrogers.com/gambler-dvd
|
en
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âTHE GAMBLERâ DVD BOX SET ARRIVES EXCLUSIVELY AT WALMART ON OCTOBER 6TH FROM SHOUT! FACTORY
|
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GRAMMY® Award-winning superstar Kenny Rogers enjoyed exceptional success during his storied career of over six decades.
|
en
|
https://fileswift.com/sites/default/files/2022-01/favicon.ico
|
Kenny Rogers
|
https://www.kennyrogers.com/gambler-dvd
|
The Gambler series generated five Emmy Award nominations. Rogers made his acting debut in the original film The Gambler, which was a massive ratings hit that achieved critical success for CBS upon its original release on April 8, 1980. It was nominated for two Emmy Awards.
The film is an Old West tale inspired by one of Rogersâ most beloved songs of all time. Brady Hawkes (Kenny Rogers) is a gamblinâ man who has seen it all...except for the son he never knew. When Hawkes receives a surprising letter from his child, he sets off on a journey to finally meet the boy. In the course of his travels, Hawkes crosses paths with the impetuous Billy Montana (Bruce Boxleitner - Tron, How The West Was Won), and the two become fast friends. Billy considers himself to be a professional gambler, but heâs got a lot to learn â and Hawkes has got some very familiar advice for him.Â
By popular demand, Rogers returned as Brady Hawkes in The Gambler: The Adventure Continues, which premiered in November 1983 on CBS. The film was an even bigger ratings success than the first and was nominated for an additional two Emmy Awards. The Gambler Part III: The Legend Continues followed in 1987 (also on CBS), and the Emmy-nominated fourth installment of the series, The Gambler Returns:  The Luck Of The Draw, starring Rogers and Reba McEntire, aired on NBC in 1991. The series moved back to CBS for the 1994 finale, Gambler V: Playing For Keeps. The first four movies of the series were directed by Dick Lowry and the last was directed by Jack Bender.
âThe Gambler,â written by GRAMMY®-winning Country Music Hall of Fame songwriter Don Schlitz, was Kenny's fourth #1 solo hit and one of five consecutive songs by the music icon to hit No. 1 on the Billboard country music chart. âThe Gambler" also went to #3 on the Billboard Adult Contemporary chart and #16 on the Billboard Hot 100. It was the first #1 hit Schlitz had written. The song won a 1978 Grammy for Best Country Song and became CMAâs 1979 Song of the Year. Kenny won a 1979 Grammy for Best Male Country Vocal Performance for âThe Gambler,â and also earned CMAâs 1979 Male Vocalist of the Year. In addition, the album, The Gambler, won CMA honors as 1979 Album of the Year, among other accolades. Â
In 2018, âThe Gamblerâ was selected for preservation in the National Recording Registry by the Library of Congress as being âculturally, historically, or artistically significant.â Following Kennyâs death on March 20, 2020, âThe Gamblerâ hit No. 1 on Billboardâs Digital Song Sales chart.Â
In a career that spanned more than six decades, Kenny Rogers left an indelible mark on the history of American music. His songs have endeared music lovers and touched the lives of millions around the world. Chart-topping hits like âThe Gambler,â âLady,â âIslands In The Streamâ (with Dolly Parton), âLucille,â âShe Believes In Me,â and âThrough the Yearsâ are just a handful of Kennyâs songs that continue to inspire new generations of artists and fans alike. With twenty-four number-one hits to his credit, Rogers miraculously charted a song within each of the last seven decades. He is a Country Music Hall of Fame member, twenty-one-time American Music Awards winner, eleven-time Peopleâs Choice Awards winner, ten-time ACM Awards winner, six-time CMA Awards winner, three-time GRAMMY® Award winner, recipient of the CMA Willie Nelson Lifetime Achievement Award in 2013, CMT Artist of a Lifetime Award honoree in 2015 and was voted the âFavorite Singer of All Timeâ in a joint poll by readers of both USA Today and People.Â
Â
Details on all the films in the Kenny Rogers:  The Gambler box set:
THE GAMBLER (1980)
The film is an Old West tale inspired by one of Rogersâ most beloved songs of all time. Brady Hawkes (Kenny Rogers) is a gamblinâ man who has seen it all...except for the son he never knew. When Hawkes receives a surprising letter from his child, he sets off on a journey to finally meet the boy. In the course of his travels, Hawkes crosses paths with the impetuous Billy Montana (Bruce Boxleitner - Tron, How The West Was Won), and the two become fast friends. Billy considers himself to be a professional gambler, but heâs got a lot to learn â and Hawkes has got some very familiar advice for him.
 THE GAMBLER: THE ADVENTURE CONTINUES (1983)
Brady Hawkes is back in this rip-roaring sequel to The Gambler. When Brady's son Jeremiah is kidnapped by a vicious gang, the gambler and his sidekick Billy Montana saddle up to rescue him. With the aid of the quick-drawing Kat Muldoon (Linda Evans - Dynasty), the stakes couldn't be higher. Will this pair of aces with a queen kicker come out on top?
THE GAMBLER: THE LEGEND CONTINUES (1987)
Brady Hawkes and Billy Montana ride again in this thrilling continuation of The Gambler saga. When the Sioux Nation is threatened by corrupt U.S. Calvary and government officials, it's up to the two friends to resolve the conflict. Also starring Linda Gray, Melanie Chartoff, George Kennedy, and Jeffrey Jones.
THE GAMBLER RETURNS: THE LUCK OF THE DRAW (1991)
On the eve of a new law banning gambling is passed, Brady Hawkes finds himself struggling with a crisis of confidenceâ¦and at the end of a hangmanâs rope. Rescued by the vivacious Burgundy Jones (Country superstar Reba McEntire), Hawkes discovers that his benefactor has a deal too good to pass up: the ultimate poker game, matching the greatest gamblers to ever ante up. Hawkes and Jones take to the trail in search of one last winning handâbut can they make it to the table in one piece? Featuring special appearances by some of the Westâs greatest legends, including Lucas McCain (Chuck Connors), Bat Masterson (Gene Barry), and Kwai Chang Caine (David Carradine).Â
GAMBLER V: PLAYING FOR KEEPS (1994)
Brady Hawkes has won just about every game of chance there is, but this time heâs risking everything for the biggest stakes of them all: the loveâand lifeâof his son Jeremiah. Estranged from his father for years, the now-grown Jeremiah has joined up with the legendary Butch Cassidy and The Sundance Kidâ¦and itâs up to Brady to track them down before the law catches up to them. Featuring Mariska Hargitay (Law & Order: Special Victims Unit) and guest appearances by Loni Anderson and Bruce Boxleitner, Playing For Keeps wraps up the saga of Brady Hawkes in grand fashion, as The Gambler takes his place among the legends of television Westerns.
Also:
COWARD OF THE COUNTY (1981)
In the tradition of The Gambler series, Coward of the County takes its inspiration from one of Kenny Rogers' all-time greatest hits. Rogers plays a small-town preacher whose nephew has taken a pledge of pacifism at the request of his dying father. The young man's oath is tested when the Gatlin boys attack his loving wife. Featuring Frederic Lane, Largo Woodruff, and William Schreiner.
|
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0
| 11
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https://www.theguardian.com/film/2015/jan/22/the-gambler-review
|
en
|
The Gambler review – Mark Wahlberg is unconvincing in a contrived remake
|
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[
"Peter Bradshaw",
"www.theguardian.com"
] |
2015-01-22T00:00:00
|
The 1974 film scripted by James Toback is relocated to Los Angeles, and turned into something pretty preposterous in the process, writes <strong>Peter Bradshaw</strong>
|
en
|
the Guardian
|
https://www.theguardian.com/film/2015/jan/22/the-gambler-review
|
Writer and film-maker James Toback has had a mini-resurgence lately: his documentary Seduced and Abandoned was widely enjoyed, and Jacques Audiard remade his 1978 movie Fingers as The Beat My Heart Skipped. Now 1974’s Toback-scripted The Gambler has had a modern – rather sanitised – makeover, transposed from New York to LA. It’s another tellingly personal tale of a highbrow guy with a lowlife secret.
Mark Wahlberg plays the part that James Caan had in the original. He is Jim Bennett, a university professor and novelist with an addiction to gambling. Wahlberg is, sad to say, uncharismatic and unconvincing in a tiresome role in which he has to harangue his students on the subject of true genius. On his personal time, he loses a fortune at blackjack, and finally stakes everything on a plan to persuade one of his students to throw a high-stakes college basketball game.
In many ways, it’s interesting to see a 70s-style movie, with its long conversational takes, transposed to a modern setting, although a 21st-century gambler might actually find it more convenient to blow it all online. Mark Wahlberg’s designer-suited performance is shallow and self-admiring, however, and William Monahan (who wrote The Departed) devises a new narrative direction which is contrived and preposterous. There are one or two nice, Elmore-Leonard-ish cracks about the movie business.
|
|||||
6232
|
dbpedia
|
3
| 13
|
https://www.buzzfeed.com/alliehayes/bad-plot-holes-in-good-movies-reddit
|
en
|
60 Terrible Plot Holes In Otherwise Great Movies
|
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] |
[] |
[] |
[
""
] | null |
[
"Allie Hayes"
] |
2021-11-07T22:54:02+00:00
|
"Nice plot you've got there. Would be a shame if someone...found a hole in it." —These moviegoers, probably
|
en
|
/static-assets/_next/static/images/favicon-496b7cee633e6a7dca162654e1bb39c9.ico
|
BuzzFeed
|
https://www.buzzfeed.com/alliehayes/bad-plot-holes-in-good-movies-reddit
|
60 Plot Holes That People Hate In Movies They Otherwise Enjoy
"Nice plot you've got there. Would be a shame if someone...found a hole in it." —These moviegoers, probably
Have you ever been watching a movie, when suddenly a plot hole the size of Texas just takes you out of it?
Whether big or small, a plot hole can nag at your brain long after a movie is over and make you question the whole thing.
Here are the biggest, most egregious plot holes in movie history, as compiled from the good people of Reddit and members of the BuzzFeed Community:
1. Men in Black (1997)
2. The Dark Knight Rises (2012)
3. Halloween (1978)
4. Aliens (1986)
5. Shrek (2004)
6. Madagascar (2005)
7. Spider-Man 3 (2007)
8. Black Panther (2018)
9. The Mummy (1999)
10. Lara Croft: Tomb Raider (2001)
11. The Dark Knight (2008)
12. Star Wars: Episode IV – A New Hope (1977) and Star Wars: Episode III – Revenge of the Sith (2005)
13. Star Wars: Episode I – The Phantom Menace (1999)
14. Star Wars: Episode V – The Empire Strikes Back (1980)
15. Star Wars: The Rise of Skywalker (2019)
16. TBH, Star Wars in general:
17. The Matrix (1999)
18. Independence Day (1996)
19. Back to the Future (1985)
20. Also in Back to the Future:
21. Hercules (1997)
22. Saw (2004)
23. Cinderella (1950)
24. Also in Cinderella:
25. Signs (2002)
26. Toy Story 2 (1999)
27. Gravity (2013)
28. The Harry Potter and the Sorcerer's Stone (2001)
29. Pretty much every Christmas movie ever made, including The Santa Clause (1994)
30. Harry Potter and the Deathly Hallows: Part 1 (2010)
31. Harry Potter and the Order of the Phoenix (2007)
32. Harry Potter and the Prisoner of Azkaban (2004)
33. The Incredibles (2004)
34. Ant-Man (2015)
35. Ant-Man and the Wasp (2018)
36. Toy Story (1995)
37. Liar Liar (1997)
38. Avengers: Infinity War (2018)
39. Tangled (2010)
40. Captain America: The First Avenger (2009)
41. Face/Off (1997)
42. Snowpiercer (2013)
43. Ocean's 11 (2001)
44. The Dark Knight Rises (2012)
45. The Lord of the Rings: The Two Towers (2002)
46. Mamma Mia (2008)
47. A Quiet Place (2018)
48. Also in A Quiet Place:
49. Hocus Pocus (1983)
50. Monsters, Inc. (2001)
51. The Karate Kid (1984)
52. High School Musical (2006)
53. The Little Mermaid (1989)
54. 17 Again (2009)
55. Raiders of the Lost Ark (1981)
56. Avengers: Endgame (2019)
57. Spider-Man: Far From Home (2019)
58. The Shawshank Redemption (1994)
59. Home Alone (1990)
60. Beauty and the Beast (2017)
Alrighty, you've read their picks, but now it's your turn! What's a plot hole that's always annoyed you in a movie you otherwise enjoy? Share yours in the comments below!
Note: Some responses have been edited for length and/or clarity. H/T: AskReddit.
This article contains content from Spencer Althouse, Ehis Osifo, and Jennifer Abidor.
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https://www.britannica.com/topic/gambling
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Gambling | Definition, History, Games, & Facts
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Gambling is the betting or staking of something of value, with consciousness of risk and hope of gain, on the outcome of a game, a contest, or an uncertain event whose result may be determined by chance or accident or have an unexpected result by reason of the bettor’s miscalculation.
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Encyclopedia Britannica
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https://www.britannica.com/topic/gambling
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gambling, the betting or staking of something of value, with consciousness of risk and hope of gain, on the outcome of a game, a contest, or an uncertain event whose result may be determined by chance or accident or have an unexpected result by reason of the bettor’s miscalculation.
The outcomes of gambling games may be determined by chance alone, as in the purely random activity of a tossed pair of dice or of the ball on a roulette wheel, or by physical skill, training, or prowess in athletic contests, or by a combination of strategy and chance. The rules by which gambling games are played sometimes serve to confuse the relationship between the components of the game, which depend on skill and chance, so that some players may be able to manipulate the game to serve their own interests. Thus, knowledge of the game is useful for playing poker or betting on horse racing but is of very little use for purchasing lottery tickets or playing slot machines.
A gambler may participate in the game itself while betting on its outcome (card games, craps), or he may be prevented from any active participation in an event in which he has a stake (professional athletics, lotteries). Some games are dull or nearly meaningless without the accompanying betting activity and are rarely played unless wagering occurs (coin tossing, poker, dice games, lotteries). In other games betting is not intrinsically part of the game, and the association is merely conventional and not necessary to the performance of the game itself (horse racing, football pools). Commercial establishments such as casinos and racetracks may organize gambling when a portion of the money wagered by patrons can be easily acquired by participation as a favoured party in the game, by rental of space, or by withdrawing a portion of the betting pool. Some activities of very large scale (horse racing, lotteries) usually require commercial and professional organizations to present and maintain them efficiently.
Prevalence of principal forms
A rough estimate of the amount of money legally wagered annually in the world is about $10 trillion (illegal gambling may exceed even this figure). In terms of total turnover, lotteries are the leading form of gambling worldwide. State-licensed or state-operated lotteries expanded rapidly in Europe and the United States during the late 20th century and are widely distributed throughout most of the world. Organized football (soccer) pools can be found in nearly all European countries, several South American countries, Australia, and a few African and Asian countries. Most of these countries also offer either state-organized or state-licensed wagering on other sporting events.
Betting on horse racing is a leading form of gambling in English-speaking countries and in France. It also exists in many other countries. Wherever horse racing is popular, it has usually become a major business, with its own newspapers and other periodicals, extensive statistical services, self-styled experts who sell advice on how to bet, and sophisticated communication networks that furnish information to betting centres, bookmakers and their employees, and workers involved with the care and breeding of horses. The same is true, to a smaller extent, of dog racing. The emergence of satellite broadcasting technology has led to the creation of so-called off-track betting facilities, in which bettors watch live telecasts at locations away from the racetrack.
Casinos or gambling houses have existed at least since the 17th century. In the 20th century they became commonplace and assumed almost a uniform character throughout the world. In Europe and South America they are permitted at many or most holiday resorts but not always in cities. In the United States casinos were for many years legal only in Nevada and New Jersey and, by special license, in Puerto Rico, but most other states now allow casino gambling, and betting facilities operate clandestinely throughout the country, often through corruption of political authorities. Roulette is one of the principal gambling games in casinos throughout France and Monaco and is popular throughout the world. Craps is the principal dice game at most American casinos. Slot and video poker machines are a mainstay of casinos in the United States and Europe and also are found in thousands of private clubs, restaurants, and other establishments; they are also common in Australia. Among the card games played at casinos, baccarat, in its popular form chemin de fer, has remained a principal gambling game in Great Britain and in the continental casinos most often patronized by the English at Deauville, Biarritz, and the Riviera resorts. Faro, at one time the principal gambling game in the United States, has become obsolete. Blackjack is the principal card game in American casinos. The French card game trente et quarante (or rouge et noir) is played at Monte-Carlo and a few other continental casinos. Many other games may also be found in some casinos—for example, sic bo, fan-tan, and pai-gow poker in Asia and local games such as boule, banca francesa, and kalooki in Europe.
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At the start of the 21st century, poker exploded in popularity, principally through the high visibility of poker tournaments broadcast on television and the proliferation of Internet playing venues. Another growing form of Internet gambling is the so-called betting exchanges—Internet Web sites on which players make wagers with one another, with the Web site taking a small cut of each wager in exchange for organizing and handling the transaction.
In a wide sense of the word, stock markets may also be considered a form of gambling, albeit one in which skill and knowledge on the part of the bettors play a considerable part. This also goes for insurance; paying the premium on one’s life insurance is, in effect, a bet that one will die within a specified time. If one wins (dies), the win is paid out to one’s relatives, and if one loses (survives the specified time), the wager (premium) is kept by the insurance company, which acts as a bookmaker and sets the odds (payout ratios) according to actuarial data. These two forms of gambling are considered beneficial to society, the former acquiring venture capital and the latter spreading statistical risks.
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The Representation of Gambling in the USA Within Popular Culture
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2021-01-30T05:45:42+00:00
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News From Hip Hop To Hollywood! www.thehypemagazine.com
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The Hype Magazine
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https://www.thehypemagazine.com/2021/01/the-representation-of-gambling-in-the-usa-within-popular-culture/
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Betting activities and games such as blackjack, roulette, and poker have been popular amongst many Americans for a long time. Due to its popularity, gambling is often used as a theme or focal point in movies and music. However, the representation of gambling and casino games can often differ depending on the subject matter.
Gambling Representation in Movies
Representations of gambling in movies set in the USA have varied over time, with some films illustrating how games such as blackjack and poker are popular activities amongst groups of friends, and others using casino games as their main action-packed premise. When films showcase a group of people who are looking to gamble, more often than not, it involves a trip to Las Vegas. Films such as The Hangover (2009) and Swingers (1996) paint the picture of Las Vegas as being the city of neon lights, and the party lifestyle that has often been associated with casino.
Gambling and casino games themselves have often been used as the main focal point within movies set in the USA. 21 (2008) is centred around a group of university students that study and play blackjack, and, again, has one of the main scenes take place in a casino in Las Vegas. In contrast, Rounders (1996) is a film all about the game of poker, and mainly focuses on the underground scene. Rounders is set in New York and represents poker as an activity played between groups of friends and associates. In contrast to the bright lights of Vegas, Rounders takes place in more private, low-key settings.
Gambling Representation in Music
Over the years, a variety of popular songs have featured lyrics mentioning gambling and a variety of casino games. Again, Las Vegas is often represented as the hub of glitz, glamour, and gambling, exemplified through Elvis Presley’s Viva Las Vegas (1964). Specific casino games have often been used as the focal point for classic hit songs. The Gambler (1978), a hit song by popular singer Kenny Rogers, features a lyrical theme centring around the game of poker and includes the iconic line ‘You gotta know when to hold ‘em, know when to fold ‘em’.
Interestingly, lyrics relating to gambling have become less commonplace in popular music today. However, certain phrases and metaphors relating to gambling have been used in modern pop music. Rap artist Roddy Rich’s song, Roll Dice (2019), uses rolling the dice as a metaphor for taking risks in life.
How Representation May Change in the Future
Traditionally, a large majority of US gambling representations in popular culture relate to Las Vegas, however as online casinos have become more popular, different places and settings are starting to be associated with gambling and casino games. As shown by the research they conducted, online casinos, such as the ones listed on BonusFinder, are growing in popularity amongst a variety of states including New Jersey, Pennsylvania, West Virginia, and Delaware. It will be interesting to see if the representation of gambling in popular culture changes following the growth of online casinos in other states.
As long as gambling and casino games remain popular within contemporary culture, the activities will continue to remain relevant across most forms of media. It will be interesting to see whether future representations will change alongside the development of the online industry, or whether the same cliche trends will continue to be seen on screen.
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About the Author
Dr. Jerry Doby Editor-in-Chief of The Hype Magazine, Media and SEO Consultant, Journalist, Ph.D. and retired combat vet. 2023 recipient of The President's Lifetime Achievement Award. Partner at THM Media Group. Member of the U.S. Department of Arts and Culture, the United States Press Agency and ForbesBLK.
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Jim Bennett (Mark Wahlberg) is a compulsive gambler. Despite a good job as a university English literature professor and a rich, widowed mother who makes sure he wants for nothing, Bennett continues to get himself further and further into gambling hell. After he manages to blow $80,000 on one bet, he borrows $50,000 from a loan shark to try win back what he lost. He fails, and now owes a Korean gambling boss and the loan shark huge sums of money.
Bennett just doesn’t know when to stop, and he continues to go way over his head in trying to recoup money to pay off his debts. When his mother (Jessica Lange) bails him out, by giving him $240,000, he takes it to the gambling hall and loses it all in a single night out with one of his students. With his life, and the lives of those he knows, being threatened, he must take one huge final gamble to pay off all he owes.
First off, the language is strong. Expect over 100 f-words, although it seems more throughout the two hours. Despite this, John Goodman’s “f**k you money” monologue was one of the best I’ve ever heard. The violence is quite tame. Bennett gets beaten up a couple of times, and there are some strong threats directed towards him and his family/friends. Sex/nudity is at a minimum. One scene takes place in a strip club where brief female topless nudity is seen, and there is a further scene where sex is implied.
This a film that packs many punches about gambling and the affect it has. It’s not glamorized in any way, and the pain it causes to the people in Bennett’s life is evident. The gambling alienates him from them, and even from himself, as it infiltrates every facet of his being. He simply doesn’t care about life anymore.
Wahlberg plays a macabre “devil-may-care” loser quite well, but you must be warned that his lethargy and his lack of care is a very strong character trait. He’s given up, and just feeds his addiction. This is evident when you see him teach. “You see me pretending to teach, I see you pretending to learn,” he tells one class very directly. This lack of passion for life is the complete opposite of what God desires for us. He gave us life, and life in abundance, so that we can live freely, exploring our passions and creativity. Jim Bennett has lost that, and perhaps, never had it in the first place.
What is key to recognize here, though, is that unlike many Hollywood flicks that focus on the addictions and personal hell of characters, this movie does end on a positive note. I can’t give any more details away, but it surprised me. There is freedom found in the end. That filled me with more joy than at any other point in the film—except for perhaps when John Goodman was on screen.
As far as movie quality goes, the director did a decent job. This movie was plain and straightforward. There were no roving cameras, no lens flares, and no insane lighting. This was simple story-telling, but, honestly, far too simple. What was frustrating about the film is that the story could have been written on a single page of A4. There’s very little to it. If I tell you to write me a gambling-based story, this is what you would have written nine times out of ten. So how does it last for two whole hours?? I’m not sure, but it does. There’s a lot of dialog to wade through, that tells you what you already know, and there’s even more dialog about existentialism, the future, and English literature that really just fills time aimlessly. There’s nothing that ultimately ties it into the story beyond the fact that you learn Bennett hates his job. So is there a point to it all? No. How disappointing.
Wahlberg gave 100% to this role. He lost 61 pounds to play Jim Bennett. He studied college professors to play a convincing teacher. However, he’s not an Oscar winner, and probably never will be. I’d like to believe one day I’ll be able to eat my words, but I doubt it. There’s just always something missing. If you’re a fan of Wahlberg, “Shooter” and “Four Brothers” are you go-tos. This, sadly, is not. Definitely not one to rush out and see.
Violence: Moderate to heavy / Profanity: Extreme—“Jesus Christ” (1), “Jesus” (1), “G**-damn” (2), “hell” (2), 110 f-words, various vulgar terms for anatomy, s-words (20+), a** (8), SOB (1) / Sex/Nudity: Moderate to heavy
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2021-11-19T21:22:16+00:00
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Card counting was a great technique for winning big in casinos in the past. While it’s not so common today, it made several players...
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en
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/wp-content/uploads/fbrfg/apple-touch-icon.png
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CineVue
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https://cine-vue.com/2021/11/cinemas-greatest-card-counters.html
|
Card counting was a great technique for winning big in casinos in the past. While it’s not so common today, it made several players and groups millionaires until they were caught. It’s considered cheating by casinos, although the process is so complex that we’d call it anything but.
Thanks to the cult built around it, card counting has appeared in many films over the years. Gambling Hollywood flicks are pretty popular nowadays thanks to the undying popularity of casinos and sportsbooks in the USA. Online casino and sports betting in the US is becoming more popular as legal restrictions are changing across the states.
Many of the biggest sports teams in the US have now partnered with sportsbooks and casino, so you can expect to see more adverts and coverage on your screen. And, while playing online is pretty big right now, you can’t count cards in online casinos. Well, it is possible, but very hard.
Below you’ll find our top five movie list that features card counters.
21 (2008)
21 is one of the most famous movies on the topic of casino gambling. It’s even based on the legendary MIT blackjack team that ravaged casinos in the 1970s. Of course, the movie is just loosely based on that story, transferring the action to the modern era.
It stars Kevin Spacey in the lead role teaching a team of young MIT students the art of card counting. They then proceed to destroy casinos for big money in an enjoyable trip that shows the benefits and disadvantages of the controversial technique.
The Card Counter (2021)
Released in 2021, The Card Counter is a tale of intrigue and a personal drama with Oscar Isaac in the lead role. He’s an ex convicted military interrogator who’s making just enough money with card counting to get by. The past comes back to haunt him soon, with Isaac’s character bonding with a younger player on casino tables.
Of course, card counting is a big part of the story. Oscar Isaac delivers an Oscar-worthy performance in a movie that gamblers will surely enjoy.
Rain Man (1988)
The 1988 classic starring Tom Cruise and Dustin Hoffman is one of the top card counting movies in Hollywood, if not the best. It won four Oscars and was nominated for a total of eight. Hoffman’s performance as Cruise’s autistic savant brother is iconic, and so is the movie from start to finish. It explores a deeper side of card counting and shows exactly how profitable it can be.
The Last Casino (2004)
The Last Casino is a TV movie that sort of flies under the card counting radar. Released in 2004, it’s 21’s predecessor with other actors and different writing. It’s still a great movie with a familiar story that card counter hopefuls and gambling fans will enjoy.
The Hot Shoe (2005)
The Hot Shoe is a 2005 documentary about the controversial card counting technique. It explores how it was used in the past and how the MIT blackjack team came to be. What makes it unique is the fact that the director used $5,000 out of his pocket to learn card counting from pros. He then put that knowledge to the test on the screen which resulted in this brilliant documentary.
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6232
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https://en.wikipedia.org/wiki/The_Gambler_(2014_film)
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en
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The Gambler (2014 film)
|
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2014-01-25T16:47:45+00:00
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en
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https://en.wikipedia.org/wiki/The_Gambler_(2014_film)
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2014 film
The GamblerDirected byRupert WyattScreenplay byWilliam MonahanBased onThe Gambler
by James TobackProduced byStarringCinematographyGreig FraserEdited byPete BeaudreauMusic by
Production
companies
Chartoff/Winkler Productions
Closest to the Hole Productions
Leverage Entertainment
Distributed byParamount Pictures
Release dates
Running time
111 minutes[1]CountryUnited StatesLanguageEnglishBudget$25–31 million[2][3]Box office$39.3 million[4]
The Gambler is a 2014 American crime drama film directed by Rupert Wyatt. The screenplay by William Monahan is based on the 1974 film The Gambler, written by James Toback, which, in turn, is based on Fyodor Dostoevsky's novel of the same name. The remake, starring Mark Wahlberg as the title character, premiered on November 10, 2014, at the AFI Fest,[5] and was theatrically released in the United States on December 25, 2014. It features the final film performance of George Kennedy before his death in 2016.
Plot
[edit]
Jim Bennett is an L.A. literature professor who uses gambling as a way of self-destruction. He ends up owing $200,000 to Lee, the proprietor of an exclusive, high-stakes underground gambling ring, and another $50,000 to Neville Baraka, a loan shark. Lee gives Jim seven days to pay off his debts or be murdered.
During one of his classes, Jim begins an awkward discussion of literary excellence using Shakespeare as an example, arguing how almost all aspiring writers fail to accomplish literary excellence. Jim singles out exemplary athletes in his class for discussion. First Dexter, an emerging tennis star; he later confronts a basketball student star, Lamar Allen, who pays no attention in class but intends to play in the NBA.
Jim expresses his extremist view on achieving excellence in one's field or vocation: if you can't be exemplary, he reasons, then you might as well not try. He tells them that only Amy Phillips, a quiet student, is capable of a career in literature. He identifies her as a potential writing prodigy based on her work in his class, as well as having previously encountered her working secretly as a waitress at the underground gambling house. They develop a mutual interest in each other.
After class, Jim visits his mother Roberta at the family's luxury estate, but she says that she will not give him any more money. Jim considers borrowing money from Frank (another loan shark) to consolidate his debts and buy himself some time, but refuses to do so when Frank first demands Jim admit “I am not a man”.
Jim convinces Roberta to give him enough to pay off his debts, expressing no gratitude, then gambles it all away in a casino with Amy. Baraka kidnaps Jim, has him tied-up and tortured, confronting him with an ultimatum—convince Lamar to win his college basketball semi-final by a margin of 7 points or less, or he will kill Amy.
Jim goes to Frank, who advises him to change his version of a "fuck you" attitude towards life by getting enough money to build a safe house and make reliable low yield investments, for protection against his severe gambling losses. Frank lends him $260,000 to pay his debt to Lee, but also threatens to kill everyone in Jim's personal life if he is not repaid. Lee's men assault Jim when he comes to ask Lee to stake him $150,000, saying the only way he can pay the full $410,000 debt to Lee and Frank is to gamble and win. He uses the $150,000 to bribe Lamar into doing the basketball point-shaving scheme. Jim sends Dexter to Las Vegas to bet on the game with the $260,000 he got from Frank. Lamar succeeds, so Jim uses his winnings to pay his debt to Baraka, denying he knows anything about the large bet made in Vegas.
Jim then convinces both Lee and Frank to meet him in a neutral gambling den, where he wagers enough money to pay both men off—if he wins—on a single roulette spin. Successful, he leaves the money at the club for Lee and Frank saying, "I am not a gambler." The payment to Frank is more than he owed; Frank finds Jim and offers to give back the “cream” but, to Frank's amusement, Jim responds “Fuck you”. On an apparent adrenaline rush, Jim runs miles through the city to arrive at Amy's apartment; he is broke, but free from debt.
Cast
[edit]
Mark Wahlberg as Jim Bennett
John Goodman as Frank "Little Frank"
Brie Larson as Amy Phillips
Michael K. Williams as Neville Baraka
Jessica Lange as Roberta
Andre Braugher as Dean Fuller
Anthony Kelley as Lamar Allen
Alvin Ing as Lee
Domenick Lombardozzi as Ernie "Big Ernie"
Emory Cohen as Dexter
Steve Park as "Two"
Leland Orser as Larry
George Kennedy as Ed
James Wellington as Indian Casino Dealer
Production
[edit]
Development
[edit]
In August 2011, Paramount Pictures announced a remake of the 1974 film The Gambler with the original producers, Irwin Winkler and Robert Chartoff. Intended as a directorial project for Martin Scorsese, it was reported that Leonardo DiCaprio was attached as the star and William Monahan would write the screenplay.[6]
In a 2011 interview, screenwriter James Toback gave the autobiographical story of the original film's background and development, and criticized the idea of his film being remade.[7]
Scorsese left the project and filmmaker Todd Phillips was in talks to take over as of August 2012.[8] In September 2013, actor Mark Wahlberg and director Rupert Wyatt expressed interest in making the film.[9]
Casting
[edit]
By October 17, 2013, Brie Larson was in talks to play the female lead role, alongside Wahlberg.[10] On January 15, 2014, Emory Cohen joined the cast of the film, playing one of the professor's students.[11]
Filming
[edit]
Shooting began on January 20, 2014.[12] On February 3, 2014, Wahlberg was spotted on The Gambler set in Downtown Los Angeles.[13] On March 13, there was a basketball scene filmed in Los Angeles.[14]
Music
[edit]
Main article: The Gambler (soundtrack)
On September 8, 2014, it was announced that Jon Brion would be scoring the music for the film,[15] while on October 27, Film Music Reporter revealed that Theo Green composed the score for the film.[16] Republic Records released a soundtrack album for the film on December 16, which features songs from various artists.[17]
Release
[edit]
The Gambler had its world premiere during the 2014 AFI Fest at the Dolby Theatre in Los Angeles on November 10.[18] Paramount previously set the film for a limited release in the United States on December 19, 2014, for an Oscar-qualifying run strategy, and planned to expand the film on January 1, 2015.[19] But on December 5, Paramount announced the film would be released wide in cinemas on December 25, 2014, instead of the previous platform release plans.[20]
On October 22, 2014, the first teaser poster and red band trailer were released.[21] On November 5, 2014, the green band trailer was released.[22]
Reception
[edit]
On Rotten Tomatoes, the film has an approval rating of 44% based on 144 reviews, with an average rating of 5.5/10. The website's critics consensus reads: "Well-paced and reasonably entertaining in its own right, The Gambler still suffers from comparisons to the James Caan classic that inspired it."[23] On Metacritic, the film has a weighted average score of 55 out of 100, based on reviews from 40 critics, indicating "mixed or average reviews".[24] Audiences surveyed by CinemaScore gave the film a grade C+ on scale of A to F.[25]
Bilge Ebiri of Vulture.com wrote: "Wahlberg grows into the part. He may not be right as a precocious, self-loathing intellectual, but he's very much at home playing a dickhead who's gotten in too deep. And as The Gambler becomes less about its protagonist's dashed intellectualism and more about the gathering danger of his predicament, the film gains power."[26] Todd McCarthy of The Hollywood Reporter called it a slick and efficient remake, and "In nearly every scene, Wahlberg carries off the central role with what could be called determined elan."[27] Peter Travers of Rolling Stone gave the film two out of four stars, saying: "Wyatt keeps the action coming at a fast clip, but watching Jim repeatedly pursue a path of self-destruction for reasons never made clear grows wearying."[28]
Jessica Lange's performance has received critical acclaim. TheWrap wrote that Lange had one of her "meatiest film roles in ages."[29] The Huffington Post described her performance as "ferocious" and capable of "knocking down William Monahan's profanity laced dialogue with gleeful abandon"[30] Also, the Boston Herald described her work as "strikingly memorable",[31] which Newsday, The Philadelphia Inquirer, and Indiewire have agreed with, terming her "affecting", "stirring", and "terrific".[32][33][34] James Berardinelli from ReelViews described her as "heartbreaking as the cold, rich widow who blames herself on some level for her son's failure."[35] Chris Nashawaty from Entertainment Weekly lauded her acting as effortless by saying "[she] can do icy in her sleep..."[36] Rex Reed from The New York Observer described her performance as "hard" and "venomous".[37] Peter Travers described her performance as "reliably superb".[28] Jeff Baker from The Oregonian stated that her acting is "fierce".[38] Indiewire suggested Lange as a contender for the Academy Award for Best Supporting Actress.[39]
References
[edit]
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https://www.thewrap.com/the-card-counter-trailer-oscar-isaac-poker-paul-schrader-film-video/
|
en
|
‘The Card Counter’ Trailer: Oscar Isaac Is ‘The Strangest Poker Player’ in Paul Schrader Film (Video)
|
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2021-07-27T16:15:53+00:00
|
Tiffany Haddish, Willem Dafoe and Tye Sheridan co-star in the drama opening Sept. 10
|
en
|
TheWrap
|
https://www.thewrap.com/the-card-counter-trailer-oscar-isaac-poker-paul-schrader-film-video/
|
Oscar Isaac might be the “strangest poker player” you’ve ever met in the first trailer for “The Card Counter.” And knowing it’s a Paul Schrader film, this might be the strangest gambling movie you’ve ever seen as well.
In “The Card Counter,” Isaac plays an ex-military interrogator-turned-gambler who is haunted by his past actions. His luck changes when he meets a woman played by Tiffany Haddish who wants to make use of his gift at counting cards and a young man played by Tye Sheridan who suspects Isaac may have been made the fall guy by an officer (Willem Dafoe) who landed Isaac in jail.
Just like Schrader’s “First Reformed” before it, “The Card Counter” is hardly just about a gambler, as it grapples with more existential themes in sometimes surreal ways. At the start of the trailer, we see Isaac wrapping every piece of furniture in a hotel room in a sheet as his symbolic way of the burden that he carries everywhere.
“There is a weight a man can accrue. The weight created by his past actions. It is a weight which can never be removed,” Isaac says in the clip.
Schrader wrote and directed “The Card Counter,” and Martin Scorsese is an executive producer on the film. Focus Features, which also distributed Schrader’s “First Reformed,” will release the movie in theaters on Sept. 10. It will also screen as a selection of the Venice Film Festival.
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6232
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dbpedia
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1
| 5
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https://www.historynet.com/faro-favorite-gambling-game-of-the-frontier/
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en
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Faro: Favorite Gambling Game of the Frontier
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2006-06-12T20:07:26+00:00
|
Did Hickok 'Buck the Tiger'? Did Holliday 'Twist the Tiger's Tail'? You bet. While the west was being won, many westerners were losing at Faro.
|
en
|
HistoryNet
|
https://www.historynet.com/faro-favorite-gambling-game-of-the-frontier/
|
In his 1892 autobiography Forty Years a Gambler on the Mississippi, gambler-bunco artist George Devol described a brush he had with a celebrity in 1874. Devol was working in the Gold Room saloon in Cheyenne, Wyoming Territory, at the time. One day a strangely familiar gent, with blue-tinted spectacles and his hat pulled low on his forehead, sauntered up to a gaming table and placed a $50 bet, which he promptly lost. The fellow placed the same bet again and this time won. When the dealer handed over only $25, the stranger protested and was told, ‘the house limit’s 25.’ ‘But you took 50 when I lost,’ said the man. ‘Fifty goes when you lose,’ replied the dealer. Without warning, the furious player whacked the dealer and his partner over the head with his walking stick, toppled the table and began stuffing his pockets with the contents of the till. As he swung around to cover the room with two six-shooters, his hat fell off, revealing a mane of long, sandy hair and the familiar countenance of James Butler ‘Wild Bill’ Hickok.
Whether or not we believe the old gambler’s tale (a brush with the ‘Prince of Pistoleers’ would have sold copies in 1892, especially since Hickok was no longer around to refute it), the story illustrates what a player was often up against when he tangled with the king of all frontier gambling games; faro. Born in France, the game came to America in the 1700s. Its name often spelled ‘pharo’ or ‘pharaoh,’ derived from period French playing cards, whose backs sometimes bore the likeness of an Egyptian ruler. Some early faro cards and layouts also displayed a portrait of a Bengal tiger, inspiring such terms as ‘bucking the tiger’ or ‘twisting the tiger’s tail’ to describe playing the game. In later years, a framed tiger portrait hanging outside a gaming house announced the presence of a faro game within.
Faro was possibly the simplest gambling game ever devised. Players bet against the house, placing bets upon a green cloth-covered layout with painted images of 13 cards, ace through king. Spades were usually depicted, but suits didn’t matter; only face value counted. The dealer dealt two cards per turn from a standard deck of 52, and the object was for players to predict which cards would appear. The first card of each turn lost for the player, but won for the bank. The second card won for the player. Chips, or ‘checks’ (as serious players called them), placed upon a card’s image bet that card to win for the player. Players could bet a card to lose by placing a hexagonal token called a copper (pennies were used in earlier days) atop the checks. If a pair turned up, the house took half of any bet on that card, these’splits’ representing an honest bank’s only real advantage. Players could back any number of cards and, if their cards did not appear, could change bets between turns. A lookout often supervised the game to prevent cheating, and would pay and collect all bets.
Originally, players could only back single cards, or groups of cards called figures, pots and squares. In later years, ‘heeling’ and’stringing along’ permitted Byzantine wagers wherein a single bet could cover several cards, betting them to win, lose, or any combination. Players could also wager that the face value of either card turned up would be odd, even, or the higher of the turn. Winning bets paid even money, except on the last turn, when players could ‘call the turn’ by guessing the order of the final three cards and winners were paid 4-to-1.
Unique to faro was the casekeeper, an abacuslike frame with miniature cards matching those on the layout. From each card ran a spindle with four button-shaped disks, and the dealer’s assistant, also called the casekeeper, moved these buttons to record the cards dealt. Some houses even provided printed cards, called tabs, so players could keep a similar tally. In early faro, the dealer dealt from his hand, and sleight-of-hand cheating was commonplace. In 1822, Virginia gambler Robert Bailey invented a brass dealing box with a hole in the top, which allowed cards to be slid out one by one. Bailey claimed this device prevented any shenanigans by dealers, but because it concealed the deck, many houses were skeptical and barred it from their premises. In 1825, an Ohio watchmaker named Graves perfected an open-top, spring-fed box that held the deck face up to eliminate any suspicion of cheating. This box, usually made of German silver, was an instant success and would remain the standard throughout faro’s long reign. Since the top card was exposed in these boxes, it was a ‘dead’ card and could not be bet upon. The top card became known as the’soda card,’ and the last card, also dead, was called ‘hock’.
Although poker is better known today, it was fairly obscure until the late 1850’s and didn’t really catch on until the 1870s. Faro was the premier game; high-rolling gamblers liked the easy odds, and others enjoyed the quick action and the thrill of staking it all on the turn of a single card. One Colorado Gold Rush observer noted that faro was played by everyone ‘from the bonanza kings in their private clubs to the little bootblacks who buck the tiger in a shack on Carbonate Hill.’
Although it provided a colorful spectacle for both player and spectator, faro was a stately game, even amid the pandemonium of the typical gambling house. An Easterner observed in 1872 that ‘there is rarely a word spoken during the progress of a deal, for faro is the most quiet, and in that respect, the most gentlemanly of all games.’ But this same writer also warned that ‘faro honestly played is a game of pure chance, and sometimes favors the unfortunate who meddles with it.’ Players liked the seemingly favorable odds; bankers often liked the many opportunities for cheating. Chicanery was employed by players as well as dealers, but to be caught invited gunplay. Cheating was so prevalent in the States, however, that American editions of Hoyle’s rules began carrying disclaimers that honest faro could no longer be found. R.F. Foster, an early Hoyle editor, explained that ‘to justify this expenditure [of opening a faro bank], he [the dealer] must have some permanent advantage.’ He added that if no such advantage was inherent in the game, players were likely being cheated.
Mere months after Graves’ invention, crooked dealing boxes flooded the market, designed to allow dealers to predict and/or manipulate the order of cards dealt. These ‘gaffed’ boxes sold under such exotic names as ‘tongue-tell,’ ‘horse box,’ and ‘needle squeeze.’ Honest, or’square,’ boxes sold for around $30, while gaffed boxes went for up to $200. Graves cashed in on this development, designing many of these contraptions himself.
Close behind these boxes came an array of specially designed cards. ‘Sanded’ cards, roughened on one side, would cling together, and were used with ‘two-card’ boxes that allowed the dealer to slide out more than one card at a time. ‘Strippers’ were narrower on one end, or had curved sides, so a dealer could manipulate them during the shuffle to ‘put up’ splits. Since splits occurred naturally only about three times in two deals, there was an obvious house advantage in increasing the number dealt. A faro dealer’s salary often reached $100 to $200 per week, plus a percentage of the house take. Foster charged that these genets were not paid so amply’simply for pulling cards out of a box,’ and challenged bankers, as a good-faith gesture, to let him ‘put a typewriter girl in the dealer’s place.’ He apparently had no takers. Crooked games were called brace games, defined by Indiana gambler Mason Long as those ‘in which a man has no chance of winning unless the dealer breaks his finger, and that he never does.’ Brace houses sprang up nationwide, where ‘cappers’ posed as players and’steerers’ lured in unwary ‘gulls.’ Such organized and widespread cheating led reformed gambler Jonathan Green to write in 1853, ‘A man would act more rationally and correctly to burn his money than to bet it on faro.’
The worst of the gambling hells were the ‘wolf traps’-pure skinning dens where anyone with a $20 stake could buy a stack of checks and open a’snap,’ with the house providing the layout for 10 percent of the bank’s take. No casekeepers or lookouts were employed, and cheating ran rampant. Players often retaliated by ‘goosing’ or’snaking’ the dealer’s kit and tampering with his cards, or by ‘bonneting’ the dealer-throwing a blanket over his head and making off with his bank. The management didn’t care who skinned whom, but cashed checks for anybody with no questions asked. In tamer houses, players cheated in a more discreet fashion. Some used devices such as the horsehair copper-simply a copper with a strand of horsehair attached so it could be secretly yanked from a winning card.
Inveterate gambler Bat Masterson once so engrossed a dealer in a tale of his glory days that the fellow absent-mindedly shoved cards from a completed game back into a dealing box ‘without even the suspicion of a shuffle.’ The cagey Bat caught the error, and by checking his tab from the pervious game won turn after turn, losing only an occasional small bet ‘for decency’s sake.’ Toward the end, with Bat anxiously prepared to ‘earthquake’ the last turn, the dealer suddenly smelled a rat and turned over his dealing box, ending the game.
Redoubtable gunman Ben Thompson destroyed a Leadville, Colo., game after losing $3,000 in 1879, when the mining town boasted more than 100 gambling dens (most of them along State Street, nicknamed ‘Tiger Alley’ for its abundance of faro banks). On a later occasion in an Austin, Texas, saloon, Thompson idly watched a dealer named Lorraine clean players through several turns; then, without warning, Thompson cleared leather and began shooting stacks of checks off the layout. After also plugging the dealing box and the lamps above the table, Thompson explained to those few onlookers who remained, ‘I don’t think that set of tools is altogether honest, and I would like to help Mr. Lorraine buy another.’ Fueled by bug juice, the fiery shootist then bulldozed a neighboring saloon, taking out a keno goose, a few more lamps and several streetlights in his wake. The following morning, a sober and contrite Thompson reported to the mayor’s office and paid all damages. Such antics apparently did not faze Austin’s voting public, for Thompson was elected city marshal in 1880.Luke Short, one of the sporting fraternity equally skilled with a dealing box or a six-shooter, could not tolerate cheats. At a faro game in a Leadville saloon in 1879, a local hard case named Brown shifted one of Luke’s bets on the layout. When Brown rudely ignored his polite request to desist, Luke made his next request by way of a lead slug fired point-blank through the cheater’s cheek. Brown meddled no further with the dapper little gambler’s game.
In February 1881, an argument over a faro game in Tombstone, Arizona Territory, led to fatal gunplay between Short and gambler Charlie Storms, a clash witnessed by Bat Masterson. Masterson entered the Oriental Saloon and found the two, both friends of his, about to do battle. Bat persuaded the drunken Storms to go home and sleep it off, personally escorting him there. He had scarcely returned to the Oriental when Storms suddenly reappeared and yanked Short off the sidewalk. Before Masterson could intervene again, both men drew their guns. Short was quicker, and Storms fell dead with bullets through his neck and heart. Another witness, George Parsons, noted in his journal that after Storms’ body was carried to his room, ‘ the Faro games went right on as though nothing had happened.’
In 1875, a faro dealer named Tom McKey bucked the suckers at Babbitt’s House in Denver, working alternatively as dealer and lookout. He moved on in the summer of ’76 to Cheyenne, where he ran a bank in Ford’s Place. Presumably, no one who bet at the nimble-fingered McKey’s layout knew he was actually a Georgia-born dentist named John Henry ‘Doc’ Holliday. Doc found gambling more lucrative and satisfying than yanking molars, and it was a trade he plied across the West throughout his brief life. In 1880, Doc ran a bank at the Alhambra Saloon in Tombstone, a venture shared with perhaps the West’s best-known faro dealer, Wyatt Earp.
During his sojourn in Tombstone, Earp owned gambling interests in several saloons, sharing the green cloth with his brothers and a cadre of Earp allies, most notably Holliday, Luke Short and Bat Masterson. He not only dealt but also, like a true aficionado, avidly bucked the bank. After a falling-out with proprietor Milt Joyce, Earp gave up his one-quarter interest in the Oriental Saloon’s faro concession, only to learn that a new bank operating there was owned by his hated enemy, Cochise County Sheriff John Behan. Learning that Behan’s total capital was $5,000, Wyatt entered a game with the sheriff himself in the lookout seat, playing until his pile topped $6,000. When Wyatt announced he was cashing in, Behan protested, lamely offering to make good any further winnings. Earp tersely responded: ‘I’ll take mine in cash. Your credit with me doesn’t cover a white chip.’ Wyatt collected his winnings, and Behan’s bank folded for good. After the O.K. Corral fracas and its bloody aftermath, Wyatt Earp left for friendlier and healthier regions. He landed in Gunnison, Colo., and found work running the far games in Charley Biebel’s saloon, where, according to a local police officer named Riley, ‘he always wore two guns, high up under his arms.’ Wyatt apparently had little need of the guns, but maintained order with his reputation and the characteristic Earp cool.
Unlike many professions, gambling in the 19th century was not strictly a male domain. Many women, tired of Victorian society’s strict codes and prescribed roles, sought adventure in the gaming houses. Saloonkeepers quickly discovered that a pretty dealer boosted business, and many a faro bank featured a lady behind the dealing box.
Poker Alice, despite the nickname, was a skilled faro dealer. Born in England in 1851, she turned cards in Colorado boom towns like Leadville and Creede, as well as in Tombstone, and lived to be nearly 80. In contrast, Deadwood’s Kitty LeRoy, aptly nicknamed Kitty the Schemer, died at age 28, shot by her fifth husband. Doc Holliday reportedly once lost $3,000 to Lottie Deno, a redheaded Southern belle who dealt faro in Fort Griffin, Texas. Deno was nearly 90 when she died, the wife of a bank vice president.
Perhaps the best-known woman gambler was Frenchwoman Eleanor Dumont, nicknamed Madame Mustache for her downy upper lip. She appeared in California during the gold rush, opening a posh gambling house in Nevada City to the dismay of city fathers (who thought a woman gambler scandalous) and the delight of the rough-and-tumble miners (who felt it a privilege to have a pretty lady lighten their pokes). Her Vingt-et-Un (Twenty-One) gambling house had carpets and crystal chandeliers and served free champagne; patrons were required to clean up their boots (and their language) if they wished to enter and play at the madame’s tables.
When the Nevada city boom went bust, Madame Mustache followed the gold and silver, and for 25 years she dealt games in camps throughout the West, adding to her resume, as fortunes declined, a much older profession than gambling. Madame Mustache ended her days in Bodie, Calif, where she eked out a meager existence turning tricks as well as cards. One September night in 1879, a pair of sharpers broke the madame’s faro bank, and the next morning she was found dead in her lonely cabin, a poison bottle in her hand.
Throughout the latter 1800s, faro dominated Western gambling. From $10 snaps to rich banks in the gaudy houses of Denver and San Francisco, the tiger’s roar was loud. In 1885, 200 persons worked in Denver’s gambling houses, which boasted such colorful names as the Bucket of Blood, the Morgue, the Tivoli and the Chicken Coop. Of all the banks in Denver, only six were known to be square. So popular was faro there that the county sheriff once pawned his revolver for $20 to buck a game at the Denver House. When mudslingers charged that 1888 senatorial candidate Edward O. Woolcott had lost $22,000 at faro, he replied it was his own business if he did, adding ‘Besides, I had just won the money the previous day at the races.’ Colorado loved a sporting man; Woolcott won the election.
Despite support from sheriff’s and senators, however, faro’s golden age was nearing its end. As early as 1872, an Eastern chronicler had observed that ‘no vice has blighted so many lives, has illustrated so many epics of anguish, or has cost the productive industry so many millions of money, as faro gambling.’ As civilization’s roots spread, this sentiment gradually took hold nationwide, and by the 1890s, even confirmed gambler George Devol admitted, ‘If I had never seen a faro bank, I would be a wealthy man today.’
By 1900, one of gambling’s last bastions, Arizona Territory, still contained nearly 1,000 gaming establishments, but public pressure ultimately won out. A headline in the March 31, 1907, Prescott Journal-Miner read, ‘The Tiger is Dying!’ and by midnight, Arizona’s last turn had been called. As state after state followed suit, the tiger became an endangered species whose last stand was, predictably, in Las Vegas, Nev. With legitimized, regulated gambling in place, a game with faro’s checkered past was looked at askance. More important, casino operators learned what the old-time sharpers had known for centuries: Honest faro made no money for the house. Joe W. Brown’s Horseshoe Casino ran possibly the last bank in existence in 1955.
All that’s left of faro today is the colorful jargon it contributed to American speech. An example that perhaps best illustrates the Western gambler’s fascination with faro is attributed to George Devol’s longtime partner, notorious bunco artist ‘Canada Bill’ Jones. When a friend found Bill bucking the bank in a gambling hall along the Mississippi in the late 1850s, he warned Bill that the game was brace. ‘Yes,’ replied Bill wistfully, ‘but it’s the only game in town.’
This article was written by John R. Sanders and originally appeared in the October 1996 issue of Wild West.
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Blu-ray/DVD Review ‘The Gambler’: Ace in the Hole
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It's been many years since I've seen 1980 TV movie The Gambler, new on Blu-ray and DVD Tuesday, Nov. 5 from Shout! Factory. But it's hard to forget it, especially since I witnessed the filming of its final sequel. That was 1994's The Gambler V: Playing for Keeps, which was shot partly in Galveston. Covering…
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https://s1.wp.com/i/favicon.ico
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Tripping the Light
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https://farsider.wordpress.com/2013/11/03/blu-raydvd-review-the-gambler-ace-in-the-hole/
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It’s been many years since I’ve seen 1980 TV movie The Gambler, new on Blu-ray and DVD Tuesday, Nov. 5 from Shout! Factory. But it’s hard to forget it, especially since I witnessed the filming of its final sequel.
That was 1994’s The Gambler V: Playing for Keeps, which was shot partly in Galveston. Covering the shoot for the Houston Chronicle, I interviewed star Kenny Rogers in his trailer, and we reminisced about his background as a good ol’ Houston boy and his music career’s start in the New Christy Minstrels and the vastly underrated the First Edition.
Now the original film makes its Blu-ray debut in a set which also features a DVD, neither of which has any extras. So if you already have this western, be advised the newness here is limited to the Blu-ray format.
The newness of the film itself has understandably worn off since it was a ratings success. By today’s standards it’s a gentle but lethargically paced tale with modest production values beyond a handsome vintage choo-choo and some remote southern Arizona settings which are shown off quite a bit. But the supporting cast is outstanding, and that title song (heard at the start and finish) is a winner.
In his first starring role as an actor, Rogers plays Brady Hawkes, a shrewd poker player by trade whose life is changed when he gets a letter from a son he never knew he had. (Stop me if you’d heard the plot about a father who doesn’t learn he has a son or daughter until much later in life, and then they connect.)
On his way to meet the boy (Ronnie Scribner), Hawkes encounters a ladylike woman (Lee Purcell) with a cloaked past, an enthusiastic young gambler wannabe (Bruce Boxleitner), the train’s edgy owner (Harold Gould) and various scumbag gunslingers who are sent to stop him from reaching his destination.
That’s because the mother of his child (Christine Belford) is the kept woman of cowardly big shot Rufe Bennett (Baylor University alum Clu Gulager) who’s been bested by Hawkes before and doesn’t want to take his chances again. Since Hawkes meets his son midway on the trip, the journey fixates on a rescue mission for the wayward mama, but why Rufe would be so fearful of a single man with a limp and a two-shot Derringer is a bit odd. It seems out of proportion.
Being a singer, not an actor, Rogers does what Willie Nelson did when he turned to the screen. He delivers an understated, naturalistic performance sticking close to his own persona. That makes Boxleitner seem hammy as hell with his comparative ostentation, but Purcell is superb — the best actor in the cast — as the woman they befriend.
The film isn’t about violent action, though it has some. It’s more about poker-table action in bars and on the train, and the interplay of good-hearted characters who never seem truly threatened by the bad guys.
It was popular enough to spawn four sequels, so clearly Hawkes is a durable character for Rogers to play — and play — and play. You might call him Rogers’ acting ace in the hole.
Fair enough. You’ve got to know not just when to fold ’em, but when to hold ’em. And when a network will foot the bill for five films, that’s the time.
— Bruce Westbrook
Tags: Kenny Rogers
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1988 film directed by Barry Levinson
For other uses, see Rain Man (disambiguation).
Rain ManDirected byBarry LevinsonScreenplay byStory byBarry MorrowProduced byMark JohnsonStarringCinematographyJohn SealeEdited byStu LinderMusic byHans Zimmer
Production
companies
United Artists
Guber-Peters Company[1]
Star Partners II, Ltd.[1]
Distributed byMGM/UA Communications Co.
Release date
Running time
134 minutes[1]CountryUnited States[1]LanguageEnglishBudget$25 million[2]Box office$354.8 million[2][3] ($914 million in 2023 dollars)[4]
Rain Man is a 1988 American road comedy-drama film directed by Barry Levinson and written by Barry Morrow and Ronald Bass. It tells the story of abrasive, selfish, young wheeler-dealer Charlie Babbitt (Tom Cruise), who discovers that his estranged father has died and bequeathed virtually all of his multimillion-dollar estate to his other son, Raymond (Dustin Hoffman), an autistic savant of whose existence Charlie was unaware. Charlie is left with only his father's beloved vintage car and rosebushes. Valeria Golino also stars as Charlie's girlfriend, Susanna. Morrow created the character of Raymond after meeting Kim Peek, a real-life savant; his characterization was based on both Peek and Bill Sackter, a good friend of Morrow who was the subject of Bill, an earlier film that Morrow wrote.[5]
Rain Man competed at the 39th Berlin International Film Festival, where it won the Golden Bear, the festival's highest prize.[6] The film was released theatrically by MGM/UA Communications Co. under its United Artists label in the United States on December 16, 1988, to critical and commercial success. Praise was given to Levinson's direction, the performances (particularly Cruise's and Hoffman's), the instrumental score, Morrow's screenplay, the cinematography, and the film's portrayal of autism. The film grossed $354 million (on a $25 million budget), becoming the highest-grossing film of 1988, and received a leading eight nominations at the 61st Academy Awards, winning four (more than any other film nominated): Best Picture, Best Director, Best Actor (for Hoffman), and Best Original Screenplay.[7]
As of 2024 , Rain Man is the only film to win both the Berlin International Film Festival's highest award and the Academy Award for Best Picture in the same year. It was also the last film released by Metro-Goldwyn-Mayer (MGM) to be nominated for Best Picture until Licorice Pizza, 33 years later.[8]
Plot
[edit]
Collectibles dealer Charlie Babbitt is in the middle of importing four grey market Lamborghinis to Los Angeles for resale. He needs to deliver the cars to impatient buyers who have already made down payments to repay the loan he took out to buy them, but the EPA is holding the cars at the port because they have failed emission tests. Charlie directs an employee to lie to the buyers while he stalls his creditor.
When Charlie learns that his estranged father Sanford Babbitt has died, he and his girlfriend Susanna travel to Cincinnati to settle the estate. He inherits only a group of rosebushes and a classic 1949 Buick Roadmaster convertible over which he and Sanford had clashed, while the remainder of the $3 million estate is going to an unnamed trustee. He learns that the money is being directed to a local mental institution, where he meets his elder brother Raymond, of whom he was unaware.
Raymond is an autistic savant, and adheres to strict routines. He has superb recall, but he shows little emotional expression, except when in distress. Charlie spirits Raymond out of the mental institution and into a hotel for the night. Disheartened with the way Charlie treats Raymond, Susanna leaves him. Charlie asks Raymond's doctor, Dr. Gerald Bruner, for half the estate in exchange for Raymond's return, but Bruner refuses. Charlie decides to attempt to gain custody of his brother to get control of the money.
After Raymond refuses to fly to Los Angeles, he and Charlie resort to driving there instead. They make slow progress because Raymond insists on sticking to his routines, which include watching The People's Court on television every day, getting to bed by 11:00 p.m., and refusing to travel when it rains. He also objects to traveling on the Interstate after they encounter a car accident.
During the course of the journey, Charlie learns more about Raymond, including his ability to instantly perform complex calculations and count hundreds of objects at once, far beyond the normal range of human abilities. He also realizes that Raymond had lived with the family as a child and was the "Rain Man" (Charlie's infantile pronunciation of "Raymond"), a comforting figure Charlie had remembered as an imaginary friend. Raymond had saved an infant Charlie from being scalded by hot bathwater one day, but Sanford blamed Raymond for nearly injuring Charlie, and committed him to the institution, as he was unable to speak up for himself and correct the misunderstanding.
Charlie's creditor repossesses the Lamborghinis, forcing him to refund his buyers' down payments and leaving him deeply in debt. Having passed Las Vegas, he and Raymond return to Caesars Palace and devise a plan to win the needed money by playing blackjack and counting cards. Although the casino bosses obtain videotape evidence of the scheme and ask them to leave, Charlie successfully wins $86,000 to cover his debts. He also reconciles with Susanna, who has rejoined the brothers in Las Vegas.
Returning to Los Angeles, Charlie meets with Bruner, who offers him $250,000 to walk away from Raymond. Charlie refuses, saying he is no longer upset about being cut out of his father's will, but he wants to have a relationship with his brother. At a meeting with a court-appointed psychiatrist, Raymond proves to be unable to decide for himself what he wants. Charlie stops the questioning and tells Raymond he is happy to have him as his brother. As Raymond and Bruner board a train to return to the institution, Charlie promises to visit in two weeks.
Cast
[edit]
Dustin Hoffman as Raymond "Ray" Babbitt
Tom Cruise as Charles Sanford "Charlie" Babbitt
Valeria Golino as Susanna
Jerry Molen as Dr. Gerald Bruner
Ralph Seymour as Lenny
Michael D. Roberts as Vern
Bonnie Hunt as Sally Dibbs (the waitress)
Beth Grant as Mother at Farm House
Lucinda Jenney as Iris
Barry Levinson as Doctor
Bob Heckel as Sheriff Deputy
Production
[edit]
Development
[edit]
In drafting the story for Rain Man, Barry Morrow decided to base Raymond Babbitt on his experiences with both Kim Peek and Bill Sackter, two men who had gained notoriety and fame for their intellectual disabilities and, in Peek's case, for his abilities as a savant that were evident in high speed reading and extremely detailed memory. Prior to the conception of Rain Man, Morrow had formed a friendship with the intellectually disabled Sackter, and, in doing so, ended up taking some situational aspects from his friendship and using them to help craft the relationship between Charlie and Raymond. Following the success of Bill, the made-for-TV movie he had written about Sackter, Morrow met Kim Peek and was wildly intrigued by his savant syndrome. Going into the creation of the film, Morrow was still essentially unaware of the intricacies of the condition, as well as of autism itself; instead deciding that the movie was less about Raymond's intellectual disability, and more about the relationship formed between Raymond and Charlie.[9]
Roger Birnbaum was the first studio executive to give the film a green light; he did so immediately after Barry Morrow pitched the story. Birnbaum received "special thanks" in the film's credits.[1]
Real-life brothers Dennis and Randy Quaid were considered for the roles of Raymond Babbitt and Charles Babbitt.[10] Agents at Creative Artists Agency sent the script to Dustin Hoffman and Bill Murray, envisioning Murray in the title role, and Hoffman in the role eventually portrayed by Tom Cruise.[5][11] Martin Brest, Steven Spielberg and Sydney Pollack were directors also involved in the film.[12] Spielberg was attached to the film for five months, until he left to direct Indiana Jones and the Last Crusade, and he would later regret the decision.[13][14] Mickey Rourke was also offered a role, but he turned it down.[15] Mel Gibson was also offered the role of Raymond, but he turned it down.[16]
For a year prior to playing Raymond Babbitt, Hoffman prepared to portray Raymond's autism by seeking out and educating himself on other autistic people, particularly those with savant syndrome. Hoffman had some experience with disabled individuals prior to filming, having worked at the New York Psychiatric Institute when he was younger. Inspiration for the portrayal of Raymond Babbitt's mannerisms was drawn from a multitude of sources, but he thanked three men in his Oscar acceptance speech.[17] One was Peter Guthrie, the autistic brother of Kevin Guthrie, a Princeton football player with whom Hoffman was in touch at the time.[18] Another was autistic savant Joseph Sullivan, who was the subject of two documentary films[19] and whose mother, Dr. Ruth Sullivan, was the founding president of the Autism Society of America and served as a consultant on the film. The third was savant Kim Peek, with whom Hoffman met as part of his research of the role, wherein he would observe and mimic Peek's actions, attempting to give an accurate portrayal of what an individual with savant syndrome might act like. His mimicry of Peek's savant syndrome was deemed a poor fit for the character by Hoffman, resulting in Hoffman's decision to make Babbitt not only a man with savant syndrome, but also with autism.[9]
Filming
[edit]
Principal photography included nine weeks of filming on location in Cincinnati and throughout northern Kentucky.[20] Other portions were shot in the desert near Palm Springs, California.[21]: 168–71 There was originally a different ending to the movie drafted by Morrow that differed from Raymond's going back to the institution. Morrow ultimately decided to drop this ending in favor of Raymond's returning to the institution, as he felt the original ending would not have stuck with the viewers as effectively as the revised ending did.[9] Almost all of the principal photography occurred during the 1988 Writers Guild of America strike; one key scene that was affected by the lack of writers was the film's final scene.[5] Bass delivered his last draft of the script only hours before the strike started, and spent no time on the set.[12]
Box office
[edit]
Rain Man debuted December 16, 1988, and was the second highest-grossing film at the weekend box office (behind Twins), with $7 million.[22] It reached the first spot the weekend of December 30 – January 2, finishing 1988 with $42 million.[23] The film would become the highest-grossing U.S. film of 1988 by earning more than $172 million. Worldwide figures vary, though. Box Office Mojo claims that the film grossed over $354 million worldwide,[2] while The Numbers reported that the film grossed $412.8 million worldwide.[3]
Reception
[edit]
On review aggregator website Rotten Tomatoes, the film holds an approval rating of 88%, based on 136 reviews, with an average rating of 8.10/10. The website's critical consensus states: "This road-trip movie about an autistic savant and his callow brother is far from seamless, but Barry Levinson's direction is impressive, and strong performances from Tom Cruise and Dustin Hoffman add to its appeal."[24] Metacritic assigned the film a weighted average score of 65 out of 100, based on 18 critics, indicating "generally favorable reviews".[25] Audiences polled by CinemaScore gave the film an average grade of "A", on a scale of A+ to F.[26]
Vincent Canby of The New York Times called Rain Man:
becomingly modest, decently thought-out, sometimes funny film"; Hoffman's performance was a "display of sustained virtuosity ... [that] makes no lasting connections with the emotions. Its end effect depends largely on one's susceptibility to the sight of an actor acting nonstop and extremely well, but to no particularly urgent dramatic purpose.[27]
Canby considered the "film's true central character" to be "the confused, economically and emotionally desperate Charlie, beautifully played by Mr. Cruise."[27] Roger Ebert gave the film three and a half stars out of four. He wrote:
Hoffman proves again that he almost seems to thrive on impossible acting challenges. ... I felt a certain love for Raymond, the Hoffman character. I don't know quite how Hoffman got me to do it.[28]
Gene Siskel also gave the film three and a half stars out of four, singling out Cruise for praise: "The strength of the film is really that of Cruise's performance...the combination of two superior performances makes the movie worth watching."[29]
Amy Dawes of Variety wrote that "one of the year's most intriguing film premises ... is given uneven, slightly off-target treatment"; she called the road scenes "hastily, loosely written, with much extraneous screen time", but admired the last third of the film, calling it a depiction of "two very isolated beings" who "discover a common history and deep attachment".[30]
One of the film's harshest reviews came from The New Yorker magazine critic Pauline Kael, who said, "Everything in this movie is fudged ever so humanistically, in a perfunctory, low-pressure way. And the picture has its effectiveness: people are crying at it. Of course they're crying at it—it's a piece of wet kitsch."[31]
Rain Man was placed on 39 critics' "ten best" lists in 1988, based on a poll of the nation's top 100 critics.[32]
Accolades
[edit]
Award Category Nominee(s) Result Academy Awards[7] Best Picture Mark Johnson Won Best Director Barry Levinson Won Best Actor Dustin Hoffman Won Best Screenplay – Written Directly for the Screen Ronald Bass and Barry Morrow Won Best Art Direction Ida Random and Linda DeScenna Nominated Best Cinematography John Seale Nominated Best Film Editing Stu Linder Nominated Best Original Score Hans Zimmer Nominated American Cinema Editors Awards Best Edited Feature Film Stu Linder Won American Society of Cinematographers Awards[33] Outstanding Achievement in Cinematography in Theatrical Releases John Seale Nominated Berlin International Film Festival[34] Golden Bear Barry Levinson Won Berliner Morgenpost Readers' Jury Award Won BMI Film & TV Awards Film Music Award Hans Zimmer Won British Academy Film Awards[35] Best Actor in a Leading Role Dustin Hoffman Nominated Best Original Screenplay Ronald Bass and Barry Morrow Nominated Best Editing Stu Linder Nominated César Awards[36] Best Foreign Film Barry Levinson Nominated Chicago Film Critics Association Awards[37] Best Actor Dustin Hoffman Nominated David di Donatello Awards Best Foreign Film Barry Levinson Won Best Foreign Director Nominated Best Foreign Actor Dustin Hoffman Won Best Foreign Producer Mark Johnson Nominated Best Foreign Screenplay Ronald Bass and Barry Morrow Nominated Directors Guild of America Awards[38] Outstanding Directorial Achievement in Motion Pictures Barry Levinson Won Golden Globe Awards[39] Best Motion Picture – Drama Won Best Actor in a Motion Picture – Drama Dustin Hoffman Won Best Director – Motion Picture Barry Levinson Nominated Best Screenplay – Motion Picture Ronald Bass and Barry Morrow Nominated Goldene Kamera (1989) Golden Screen Won Goldene Kamera (1991) Golden Screen with 1 Star Won Heartland Film Truly Moving Picture Award Barry Levinson Won Japan Academy Film Prize Outstanding Foreign Language Film Nominated Jupiter Awards Best International Film Barry Levinson Won Kansas City Film Critics Circle Awards[40] Best Film Won Best Director Barry Levinson Won Best Actor Dustin Hoffman Won Best Supporting Actor Tom Cruise Won[a] Kinema Junpo Awards Best Foreign Language Film Barry Levinson Won Mainichi Film Awards Best Foreign Language Film Won MTV Video Music Awards Best Video from a Film "Iko Iko" – The Belle Stars Nominated Nastro d'Argento Best Foreign Director Barry Levinson Nominated Best Supporting Actress Valeria Golino Nominated National Society of Film Critics Awards[41] Best Actor Dustin Hoffman 3rd Place New York Film Critics Circle Awards[42] Best Actor 2nd Place Nikkan Sports Film Awards Best Foreign Film Won People's Choice Awards[43] Favorite Dramatic Motion Picture Won Turkish Film Critics Association Awards Best Foreign Film 2nd Place Writers Guild of America Awards[44] Best Screenplay – Written Directly for the Screen Ronald Bass and Barry Morrow Nominated YoGa Awards Worst Foreign Actor Dustin Hoffman Won
Legacy
[edit]
The release of Rain Man in 1988 coincided with a tenfold increase in funding for medical research and diagnoses of individuals for autism. The latter is primarily due to autism's being more broadly defined in newer editions of the Diagnostic and Statistical Manual of Mental Disorders, particularly versions III-R and IV.[45]: 389–401 The movie is credited, however, with significantly increasing awareness of autism among the general public.[45]: 354-380
Rain Man is known, in particular, for its portrayal of a man with both autism and savant skills, leading much of its viewing audience to incorrectly assume the intellectual capabilities of autistic people at large.[9] Characters like Raymond Babbitt, whose characterization has been criticized for adhering to stereotypes, are portrayed as having an otherworldly intellectual ability that, rather than disable them from living a "normal" life, instead assists them in a nearly magical way. Although having savant abilities is certainly a possibility for autistic individuals, the combination is incredibly rare.[46] Conversely, Rain Man has also been seen as dispelling a number of other misconceptions about autism, and improving public awareness of the failure of many agencies to accommodate autistic people and make use of the abilities they do have, regardless of whether they have savant skills or not.[47]
Since Dustin Hoffman's 1989 Academy Award win for his performance in Rain Man, about half of all Best Actor trophies have been awarded for portrayals of characters who are disabled in some way; none of these recipients share their characters' disabilities in real life.[48][49] Just one year after Hoffman's win, Daniel Day-Lewis (thus far the only actor to have won three awards in the category) garnered his first Best Actor win for his portrayal of cerebral palsy patient Christy Brown in My Left Foot. The Academy’s incentivizing of such casting practices has drawn criticism from disabled actors and self-advocates, who argue that these decisions sideline more authentic stories about disabled characters, in favor of leveraging already-established actors' prestige.[50][51] This pattern has even been satirized by the 2008 film Tropic Thunder (in which Tom Cruise also appears), wherein Robert Downey Jr.'s character, Kirk Lazarus, chastises a fellow actor for portraying a character whose developmental disability is deemed too alienating for a mainstream audience.[52]
Rain Man is also known for popularizing the misconception that card counting is illegal in the United States.[53]
In 2006, the film was recognized by the American Film Institute in their list of 100 Years...100 Cheers at #63.[54]
In popular culture
[edit]
The cold open sketch in the April 1, 1989, installment of Saturday Night Live spoofed both the film and the Pete Rose gambling scandal at the time. Charlie and Raymond Babbitt were played by Ben Stiller and Dana Carvey, respectively, with Phil Hartman as Rose.[55] The Babbitt brothers appear in The Simpsons Season 5 episode "$pringfield (or, How I Learned to Stop Worrying and Love Gambling)". The film is mentioned in numerous other films, such as Miss Congeniality, 21, The Hangover, and Escape Room, as well as in the television series Breaking Bad and Barry.
Raymond Babbitt was caricatured as a rain cloud in the animated episode of The Nanny, "Oy to the World". During the episode, Fran fixes up CC the Abominable Babcock with the Rain Man. He is portrayed as a cloud of rain mumbling about weather patterns and being an excellent driver.
References to Rain Man, Dustin Hoffman's performance in particular, have become a popular shorthand for autism and savantism. In the final episode of the first season of Community, Pierce calls Abed "Rain Man" when listing members of the study group; Abed had been described previously as having Asperger's Syndrome, which is now diagnosed as autism spectrum disorder.[56] In the 2015 biographical drama film Steve Jobs, when Jobs (played by Michael Fassbender) is confronted by Apple CEO John Sculley (Jeff Daniels), he refers to co-founder Steve Wozniak (Seth Rogen) as "Rain Man". In the film, Fear Street Part One: 1994, Simon, surprised by Josh's knowledge of a seemingly unknown girl who had attacked him, says: "Jesus, Rain Man. How [...] do you know that?".
Qantas and airline controversy
[edit]
In June 1989, at least fifteen major airlines showed edited versions of Rain Man that omitted the scene involving Raymond's refusal to fly, mentioning the crashes of American Airlines Flight 625, Delta Air Lines Flight 191, and Continental Airlines Flight 1713, except on Australia-based Qantas. Those criticizing this decision included film director Barry Levinson, co-screenwriter Ronald Bass, and George Kirgo (at the time, the President of the Writers Guild of America, West). "I think it's a key scene to the entire movie," Levinson said in a telephone interview. "That's why it's in there. It launches their entire odyssey across country – because they couldn't fly." Although some of those airlines cited as justification avoiding having airplane passengers feel uncomfortable in sympathy with Raymond during the in-flight entertainment, the scene was shown intact on flights of Qantas, and commentators noted that Raymond mentions it as the only airline whose planes have "never crashed".[57][58]
The film is credited with introducing Qantas's safety record to U.S. consumers.[59][60] However, contrary to the claims made in the film, Qantas aircraft have been involved in a number of fatal accidents since the airline's founding in 1920 (although none involving jet aircraft, with the last incident taking place in December 1951).[61]
The Buick convertible
[edit]
Two 1949 Roadmaster convertibles were used in the filming, one of which had its rear suspension stiffened to bear the additional load of camera equipment and a cameraman. After filming completed, the unmodified car was acquired by Hoffman, who had it restored and added it to his collection. He kept it for 34 years. Hemmings Motor News reported that the car was auctioned in January 2022 by Bonhams in Scottsdale, Arizona, and sold for $335,000.[62] The camera-carrying car was similarly acquired by Barry Levinson, who had it restored by Wayne Carini of the Chasing Classic Cars television series a few years later.
See also
[edit]
Savant syndrome
List of films set in Las Vegas
Notes
[edit]
References
[edit]
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http://www.uk-21.org/gambler_johnoshea.shtml
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21.org: Review of 'The Gambler (John O'Shea)'.
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http://www.uk-21.org/favicon.ico
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UK-21.org Review of 2013 Setanta TV documentary 'The Gambler', featuring poker pro John O'Shea.
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http://www.uk-21.org/favicon.ico
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The Gambler
Setanta TV, 2013
Saw this one on the US documentary channel, PBS, a couple of evenings ago. Certainly one to watch if you fancy taking a glimpse at the lot of a professional poker pro and gambler - despite many references to telephone number wins and losses, this one steered clear of all of the bullshit glamour and provided an insight into what you can expect if you decide to chuck in the day job and do it for a living.
John O'Shea originates from Dublin, and early into a career in accountancy with one of the big four (KPMG) he decided to bin the tedium of the nine-to-five and do what he really enjoyed for a living instead - playing poker and travelling the circuit. The documentary follows him, and his fortunes, during 2012 as he takes part in the Irish Open, the European Poker Tournament and then across the pond to Las Vegas to take part in the WSOP. At the time the programme was made he was 27, and had been throwing chips into the pot, both the stackable and electronic varieties, as a pro for five years. Interesting that early on in the programme whilst chatting to the film makers during a round of golf, and discussing the forthcoming Irish Open, he made a comment along the lines that 50% of tournament outcomes are down to luck, and for poker players they were the equivalent of taking part in the Lotto - that made me warm to him straight away (clearly someone who wouldn't need to book a second seat on a flight to accommodate his ego).
Other things I liked about this documentary? The reporting of the ups and downs as they happened, and some of the practical aspects of Mr O'Shea's "working" life. He can't get a bet on with any bookie within a 10 mile radius of where he lives, as he's a known pro whose won too much in the past (in many cases due to insider information). The inevitable losses; the camera caught more than the odd sad face as things didn't go according to plan.
Losing the last in a series of bad bets on the footie when Chelsea equalised against Bayern Munich in the eighty-eighth minute of a European match - Mr O had put a bundle on Bayern to win in conjunction with another punt, and he finished the weekend €100K down. Over (what I assumed was) Sunday lunch with his parents this came up in conversation and you could tell his mother was less than impressed with his choice of careers.
Then there were the featured tournaments, where Mr O kept running into unlucky combinations of cards and had to exit stage left. Despite putting in a creditable performance at the Irish Open and getting to day two, his chip stack was devasted through losing two key hands, and his final long-odds punt came to nothing when a larger stacked player called his shove and paired on the flop. In the European Poker Tour final in Monaco, his exit was again engineered by the variance fairy when an opponent contested a hand and finished with a full house, taking a large proportion of his chips after which he walked when his Ace-Ten versus Ace-Queen punt was met with a queen on the flop. For his trip to Las Vegas for the WSOP World Series, he sent across $400K in advance of flying out, and admitted to losing the lot before he'd even got to the main reason for travelling there - although he did progress far enough in the competition to get into the money and recovered around 10% of this. Lastly there was the sitting at home late on a Saturday night, waiting along with all the other sharks for the chumps to get back from the pub and log on, and finding the "fish" and pursuing them around the ether.
During the programme it was clear that Mr O had a very pragmatic, but almost casual, attitude to his losses. Discussing the fact that gambling is a volume endeavour aimed at getting a return on a small margin, he gives the example of betting £5m a year - losing £2.25m will mean you'll win £2.75m and make a £500K profit or 10% margin. £500K sounds great in theory, but since the programme was made his live tournament winnings have been well short of this and have averaged around $60K per annum, c£40K; knock off the costs of travel, accommodation and subsistence, tournament entry fees etc and he's probably earning less for the hours he puts in travelling and at the tables than he would as a wage-slave bean-counter. His results also suggest his average return since 2012 has been a lot less than 10% on volume, although these figures don't include bread-and-butter online play which possibly pays the bills?
I'm sure I recall Mr O saying something along the lines of great players are just average players who handle their losses better. Sounds a cliche, but perhaps that's right? It would also explain why I'd never make it as a pro poker player; a combination of not being lucky enough to do it for a living, and not taking it too well when the variance fairy serves up the third long odds battering within a few rounds - and I go from being the table chip leader to chip bleeder. As I've written elsewhere on this site, life as a pro-gambler is one for the mavericks and certainly from the footage making up the documentary Mr O seems to fit right in there
Any advice for Mr O? I'm certainly not in a position to suggest anything with regard to playing poker, although he might wish to considering spending some of his winnings on some new threads at some stage - apart from the scenes on the golf course, when he wore shorts, across several sessions to camera he seemed to be wearing the same pair of tracksuit bottoms (with a red stripe down the legs). Perhaps he had several of the same in his wardrobe? On this note I'm still trying to fathom out whether dressing down is one of the cultural aspects of pro poker or not, or if some of the contestants at this level really do sleep rough and crawl out of a cardboard box each morning before they report to the tables.
The documentary can be viewed in full at poker.org:
http://www.poker.org/videos/the-gambler-john-oshea-documentary-135466/.
There's also an interview with John O'Shea reported in the Independent:
http://www.independent.ie/lifestyle/ive-made-over-2m-from-poker-but-dont-tell-me-its-glamorous-26840371.html
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https://www.ranker.com/list/best-movies-about-blackjack-ranked/lauren-kershner
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The 10 Best Movies About Blackjack That'll Have You Doubling Down
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[
"Lauren Kershner"
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2024-04-06T00:00:00
|
Explore this curated list of the best movies about Blackjack, including The Hangover, Rain Man, and more - ranked by viewers.
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en
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/img/icons/touch-icon-iphone.png
|
Ranker
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https://www.ranker.com/list/best-movies-about-blackjack-ranked/lauren-kershner
|
What's On The Table: After a wild bachelor party in Vegas, three buddies wake up with the worst hangover, and a missing groom-to-be. With no memory of the previous night, they try to piece together a mishmash of clues left behind - including a baby and a Bengal tiger - to locate their friend, Doug. Amidst their crazy quest, they get mixed up with gangsters who claim to have Doug, but who also accuse the group of stealing $80,000 in poker chips from them. They threaten to kill Doug if their chips are not returned. Blackjack comes into play when Alan (Zach Galifianakis) uses his card counting abilities to win $82,000 in chips to save Doug. It ends up being the wrong Doug, but that's a longer story.
Why It Nails Gambling: Though blackjack isn't a central theme in the movie, it is the center of a hilarious scene that pokes fun at Rain Man. Swirls of imaginary mathematical equations float around Alan's head as he quietly makes his card counting calculations at the blackjack table. This is not an accurate depiction of how the system works, and it's not meant to be. It's just a joke.
Fun Fact: Ironically, experiencing a real hangover is impossible for lead actor Bradley Cooper - he's been sober since he was 29.
What's On The Table: In this Oscar-winning drama, Tom Cruise plays Charlie Babbitt, an egocentric car dealer from Los Angeles. When his estranged father dies, he learns that his autistic brother Raymond (Dustin Hoffman) - who he had no prior knowledge of - has inherited $3 million, while Charlie has inherited nothing. Motivated by anger and greed, he travels to Ohio to kidnap Raymond from the institution he lives in, and drives him back to Los Angeles on the cross country trek of a lifetime. Though Raymond drives him crazy with his incessant chatter and redundant joke-telling, Charlie discovers he can use his brother's brilliant mind - he has a photographic memory and a knack for numbers - to his advantage. When their travels bring them to Vegas, Charlie uses Raymond to help him count cards and win big at blackjack. It's not the main plot, but the quintessential gambling scene has since been referenced in Vegas-centric films from 21 to The Hangover.
Why It Nails Gambling: In the famed blackjack scene, Raymond counts cards with six decks, resulting in $80,000 of winnings. Though technically the game is accurately portrayed, the likelihood that Raymond's success would be so fruitful is low - especially since he'd never played before, and received only a brief rundown from Charlie beforehand. This scene has also contributed to a misconception that having autism automatically makes someone adept at playing cards. While it makes for an entertaining scene, it's not altogether realistic.
Fun Fact: The scene in which Raymond farts in the phone booth while Charlie is on a call was improvised. During filming, Dustin Hoffman accidentally cut the cheese, but instead of dropping out of character, he ad-libbed. He later revered it as one of his favorite scenes of all time.
What's On The Table: In efforts to pay off a massive gambling debt, a math professor teaches three of his brightest pupils card-counting to win big at blackjack. Since he's been banned from the Canadian casinos himself, he uses his mathematical minions to do his bidding for him, but it all comes at a price.
Why It Nails Gambling: Based on the MIT blackjack Team - a team of university students that card-counted their way through Vegas casinos from 1979 into the 1990s - this French-language film is a more accurate representation of the real-life events than the better-known English-language film based on the same events, 21. While the Kevin Spacey version take liberties and exaggerates - seriously, no one in real life gets beat up by Lawerence Fishburne for card-counting - The Last Casino is a truer depiction of casino culture. As most card-counting films do, it does perpetuate the misleading notions that only geniuses can count cards and that the technique guarantees big wins every time.
Fun Fact: Director Pierre Gill has also worked as a cinematographer or in other roles in the photography unit on many hit films, including Denis Villeneuve's hit films Blade Runner 2049 and Arrival.
What's On The Table: After losing $30,000 in a hand of Texas hold 'em to a Russian mobster (John Malkovich), Mike McDermott (Matt Damon) folds on the gambling life to focus on law school, and his relationship with his live-in girlfriend. When his old gambling buddy, Worm (Edward Norton), resurfaces from prison and asks for help settling a gambling debt, Mike is lured off of his straight and narrow path, and back into the world of rounding.
Why It Nails Gambling: In Rounders, Mike McDermott is addicted to gambling, and poker is his game of choice. Not only does the film offer a realistic point of view from the eyes of a compulsive gambler, it's also one of the most accurate on-screen portrayals of poker to date. The mechanics of the game aren't compromised for the sake of the script, and the hands that the characters are dealt are believable.
Fun Fact: Gretchen Mol plays Matt Damon's live-in girlfriend, but the role was originally offered to Scream queen, Neve Campbell.
What's On The Table: A group of MIT students - led by their Machiavellian math professor (Kevin Spacey) - form a team of card counters to win millions playing blackjack in Vegas. Twenty-one year old Ben Campbell (Jim Sturgess) joins the team, but only to earn $300,000 for his Harvard tuition, vowing to back out once he does. He wins the money, but doesn't stop playing. Corrupted by his greed, he gets caught up in the game, and risks losing everything.
Why It Nails Gambling: The film is based on the real exploits of the MIT blackjack team, and to the untrained eye, it looks like an authentic portrayal of card counting. According to blackjack experts, though, there are a few inaccuracies, including the misconception that card counters win every time (in reality, the strategy offers 1-2% advantage, which is significant enough to help influence winnings, but not an instant-win button). Similarly, the movie completely avoids including some of the strategy's technical components. On top of that, card counting is legal, so it's unlikely that Laurence Fishburne would pistol-whip anyone for doing it.
Fun Fact: In preparation for the film, the crew took some of the players from the real life MIT team to Vegas. Though they weren't allowed to play, Kevin Spacey claims that when they signaled for him to bet, he would win every time.
What's On The Table: Tired of the cards life has dealt him, an aspiring writer (Clive Owen) takes a job as a croupier at a blackjack table. He falls deeper down the casino-shaped rabbit hole, when he meets Jani, a bewitching gambler who's down on her luck. He starts seeing her outside of working hours, and soon finds himself entangled in her scheme to rob the casino.
Why It Nails Gambling: While most films that center around gambling tend to capture casinos in a flashy, alluring light, this film does the opposite. Sidestepping the glitz and glam, Croupier depicts the casino as a dark, decrepit underworld where winning big is a far-flung fantasy rather than a nightly occurrence.
Fun Fact: As luck would have it, the film never got the chance to win big at the Academy Awards, because it was disqualified due to a short release in theaters in Singapore as well as one airing on Dutch television.
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https://www.rogerebert.com/reviews/the-gambler-2014
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The Gambler movie review & film summary (2014)
|
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Dopey parable about risk-taker is a sucker bet that benefits from three wicked supporting turns by John Goodman, Michael K. Williams and Alvin Ing. The lead character craps out big time.
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This retooling of the 1974 James Caan film is completely devoid of the grit, nastiness and desperation of the Karel Reisz-James Toback original. Caan’s character was memorable because one sensed that his film might do something awful to him, or worse, that his character might self-destruct and harm himself. By comparison, the 2014 version never indicates that it will maim and/or kill risk-taker Jim Bennett. It’s too in love with his cocky, unflappable arrogance in the face of danger. No matter how dire the situation, Bennett’s escape is never in doubt. This format works well for action movies and superhero yarns; not so much for dramas.
“The Gambler” refuses to acknowledge that Bennett has a gambling addiction. It tries justifying Bennett’s actions by tying them to the existential works he teaches in his college literature class. In that class is Amy (Brie Larson, so great in “Short Term 12”), whose character description sounds like it fell out of a filing cabinet at New World Pictures: College student by day, cocktail waitress in illegal gambling den by night. She knows of Bennett’s reckless abandon with other people’s money at the casino run by Mister Lee (Ing), and I guess it turns her on or something. It’s as good an interpretation of her character as any, because Larson is given less to play here than she got in “Don Jon”.
As Bennett digs deeper holes for himself, every confrontation between him and another character plays like a “very special episode” of an 80’s sitcom. People rant and rave at Bennett, calling him on the carpet for numerous offenses and mistakes as a means of teaching him a valuable lesson. Sometimes they rough him up a bit for emphasis. Then they completely forget about teaching lessons and bend to his will. Jessica Lange, as Bennett’s super-rich Mom, slaps him around when he asks her for the $240,000 he needs to clean up his latest mess. Lange’s over-the-top chastising scene would shame Joan Crawford, but she goes to the bank to get Bennett the money anyway.
Scenes like this occur with the aforementioned trio of Ing, Goodman and Williams, but they know how to toy with screenwriter William Monahan’s preposterous, purple macho prose and posturing. They play the material at odd angles while Wahlberg plays it so straight he’s upstaged at every turn. In these mini-movies, they become the stars and the lead becomes an extra. As Mister Lee, Ing delivers his lines in a smooth, ice cold fashion that’s fun to watch. Goodman plays his entire role topless, and turns the F-word into poetry. Most effective of the trio is Williams, whose Neville serves as a charming mentor to Bennett without losing the “dangerous Black man” edge that Toback’s earlier films liked to fetishize.
Bennett borrows money from each of them, and since he’s originally indebted to Lee’s casino, Lee’s loans are akin to borrowing from Peter to pay Peter. Every so often, one of the three shows up to inquire about their money, and they’re always one step ahead of Bennett. Each knows when he has borrowed from the other, as if a “Bennett Alert” popped up on their phones prior to the scene. What I would have given for scenes where Ing, Goodman and Williams sat around exchanging information and laughing maniacally about how they can’t hurt Bennett too badly lest they upset the audience. This movie should be about them.
Since the plot hinges on whether Bennett can successfully juggle all his schemes and make his big score pay off, it isn’t unreasonable to ask that “The Gambler” get one’s heart racing. But director Rupert Wyatt is too busy trying to be arty and daring with his visuals and soundtrack juxtapositions to think about pacing. In one unwise sequence, Dinah Washington’s classic “This Bitter Earth” plays over extraneous footage of writhing, naked strippers, leaving one to ask “just how bitter IS the earth in the Champagne Room?” In another, Bennett runs what appears to be a marathon, only to arrive at a destination the movie wrongly assumes is bittersweet.
Look, I get it. This is supposed to be some kind of fable-slash-parable. But even the wimpiest fairy tales have some form of credible threat. When various minions finally do pummel Bennett for his sins, I thought “eh, he’ll be all right.” And he was. Where’s the drama in that?
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Blackjack
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Blackjack is the American variant of a globally popular banking game known as Twenty-One, whose relatives include Pontoon and Vingt-et-Un.[1] It is a comparing card game between usually several players and a dealer, where each player in turn competes against the dealer, but players do not play...
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Ultimate Pop Culture Wiki
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https://ultimatepopculture.fandom.com/wiki/Blackjack
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This article is about the gambling game. For the shedding-type card game sometimes called Black Jack, see Switch (card game). For other uses, see Black Jack (disambiguation).
BlackjackFile:BlackJack6.jpg
A blackjack
Alternative namesTwenty-OneTypeComparingPlayers2+, usually 2–7Skills requiredProbabilityCards52 to 416DeckFrenchPlayClockwiseRandom chanceHigh
Blackjack is the American variant of a globally popular banking game known as Twenty-One, whose relatives include Pontoon and Vingt-et-Un.[1] It is a comparing card game between usually several players and a dealer, where each player in turn competes against the dealer, but players do not play against each other. It is played with one or more decks of 52 cards, and is the most widely played casino banking game in the world.[2]:342 The objective of the game is to beat the dealer in one of the following ways:
Get 21 points on the player's first two cards (called a "blackjack" or "natural"), without a dealer blackjack;
Reach a final score higher than the dealer without exceeding 21; or
Let the dealer draw additional cards until their hand exceeds 21 ("busted").
Players are each dealt two cards, face up or down depending on the casino and the table at which you sit. In the U.S., the dealer is also dealt two cards, normally one up (exposed) and one down (hidden). In most other countries, the dealer receives one card face up. The value of cards two through ten is their pip value (2 through 10). Face cards (Jack, Queen, and King) are all worth ten. Aces can be worth one or eleven. A hand's value is the sum of the card values. Players are allowed to draw additional cards to improve their hands. A hand with an ace valued as 11 is called "soft", meaning that the hand will not bust by taking an additional card; the value of the ace will become one to prevent the hand from exceeding 21. Otherwise, the hand is "hard".
Once all the players have completed their hands, it is the dealer’s turn. The dealer hand will not be completed if all players have either busted or received blackjacks. The dealer then reveals the hidden card and must hit until the cards total 17 or more points. (At most tables the dealer also hits on a "soft" 17, i.e. a hand containing an ace and one or more other cards totaling six.) Players win by not busting and having a total higher than the dealer, or not busting and having the dealer bust, or getting a blackjack without the dealer getting a blackjack. If the player and dealer have the same total (not counting blackjacks), this is called a "push", and the player typically does not win or lose money on that hand. Otherwise, the dealer wins.
Blackjack has many rule variations. Since the 1960s, blackjack has been a high-profile target of advantage players, particularly card counters, who track the profile of cards that have been dealt and adapt their wagers and playing strategies accordingly.
Blackjack has inspired other casino games, including Spanish 21 and pontoon.
History[]
Blackjack's precursor was twenty-one, a game of unknown origin. The first written reference is found in a book by the Spanish author Miguel de Cervantes, most famous for writing Don Quixote. Cervantes was a gambler, and the main characters of his tale "Rinconete y Cortadillo", from Novelas Ejemplares, are a couple of cheats working in Seville. They are proficient at cheating at veintiuna (Spanish for twenty-one), and state that the object of the game is to reach 21 points without going over and that the ace values 1 or 11. The game is played with the Spanish baraja deck. This short story was written between 1601 and 1602, implying that ventiuna was played in Castile since the beginning of the 17th century or earlier. Later references to this game are found in France and Spain.[3]
When twenty-one was introduced in the United States, gambling houses offered bonus payouts to stimulate players' interest. One such bonus was a ten-to-one payout if the player's hand consisted of the ace of spades and a black jack (either the jack of clubs or the jack of spades). This hand was called a "blackjack", and the name stuck to the game even though the ten-to-one bonus was soon withdrawn. In the modern game, a blackjack refers to any hand of an ace plus a ten or face card regardless of suits or colors.[2]:350
The first scientific and mathematically sound attempt to devise an optimal blackjack playing strategy was revealed in September 1956. Roger Baldwin, Wilbert Cantey, Herbert Maisel and James McDermott published a paper titled The Optimum Strategy in Blackjack in the Journal of the American Statistical Association. This paper would become the foundation of all future sound efforts to beat the game of blackjack. Ed Thorp would use Baldwin’s hand calculations to verify the basic strategy and later publish (in 1963) his famous book Beat the Dealer.[4]
Rules of play at casinos[]
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At a casino blackjack table, the dealer faces five to seven playing positions from behind a semicircular table. Between one and eight standard 52-card decks are shuffled together. At the beginning of each round, up to three players can place their bets in the "betting box" at each position in play. That is, there could be up to three players at each position at a table in jurisdictions that allow back betting. The player whose bet is at the front of the betting box is deemed to have control over the position, and the dealer will consult the controlling player for playing decisions regarding the hand; the other players of that box are said to "play behind". Any player is usually allowed to control or bet in as many boxes as desired at a single table, but it is prohibited for an individual to play on more than one table at a time or to place multiple bets within a single box. In many U.S. casinos, however, players are limited to playing two or three positions at a table and often only one person is allowed to bet on each position.
The dealer deals cards from his/her left (the position on the dealer's far left is often referred to as "first base") to his/her far right ("third base"). Each box is dealt an initial hand of two cards visible to the people playing on it, and often to any other players. The dealer's hand receives its first card face up, and in "hole card" games immediately receives its second card face down (the hole card), which the dealer peeks at but does not reveal unless it makes the dealer's hand a blackjack. Hole card games are sometimes played on tables with a small mirror or electronic sensor that is used to peek securely at the hole card. In European casinos, "no hole card" games are prevalent; the dealer's second card is neither drawn nor consulted until the players have all played their hands.
Cards are dealt either from one or two handheld decks, from a dealer's shoe, or from a shuffling machine. Single cards are dealt to each wagered-on position clockwise from the dealer's left, followed by a single card to the dealer, followed by an additional card to each of the positions in play. The players' initial cards may be dealt face up or face down (more common in single-deck games).
The players' object is to win money by creating card totals that turn out to be higher than the dealer's hand but do not exceed 21 ("busting"/"breaking"), or alternatively by allowing the dealer to take additional cards until he/she busts. On their turn, players must choose whether to "hit" (take a card), "stand" (end their turn), "double" (double wager, take a single card and finish), "split" (if the two cards have the same value, separate them to make two hands) or "surrender" (give up a half-bet and retire from the game). Number cards count as their natural value; the jack, queen, and king (also known as "face cards" or "pictures") count as 10; aces are valued as either 1 or 11 according to the player's choice. If the hand value exceeds 21 points, it busts, and all bets on it are immediately forfeit. After all boxes have finished playing, the dealer's hand is resolved by drawing cards until the hand busts or achieves a value of 17 or higher (a dealer total of 17 including an ace, or "soft 17", must be drawn to in some games and must stand in others). The dealer never doubles, splits, or surrenders. If the dealer busts, all remaining player hands win. If the dealer does not bust, each remaining bet wins if its hand is higher than the dealer's, and loses if it is lower. If a player receives 21 on the 1st and 2nd card it is considered a "natural" or "blackjack" and the player is paid out immediately unless dealer also has a natural, in which case the hand ties. In the case of a tied score, known as "push" or "standoff", bets are normally returned without adjustment; however, a blackjack beats any hand that is not a blackjack, even one with a value of 21. Wins are paid out at 1:1, or equal to the wager, except for player blackjacks which are traditionally paid at 3:2 (meaning the player receives three dollars for every two bet) or one-and-a-half times the wager. Many casinos today pay blackjacks at less than 3:2 at some tables; for instance, single-deck blackjack tables often pay 6:5 for a blackjack instead of 3:2.[5]
Blackjack games almost always provide a side bet called insurance, which may be played when dealer's upcard is an ace. Additional side bets, such as "Dealer Match" which pays when the player's cards match the dealer's up card, are sometimes available.
Player decisions[]
"Doubling Down" redirects here. For the South Park episode, see Doubling Down (South Park).
After receiving an initial two cards, the player has up to four standard options: "hit", "stand", "double down", or "split". Each option has a corresponding hand signal. Some games give the player a fifth option, "surrender".
Hit: Take another card from the dealer.
Signal: Scrape cards against table (in handheld games); tap the table with finger or wave hand toward body (in games dealt face up).
Stand: Take no more cards, also known as "stand pat", "stick", or "stay".
Signal: Slide cards under chips (in handheld games); wave hand horizontally (in games dealt face up).
Double down: The player is allowed to increase the initial bet by up to 100% in exchange for committing to stand after receiving exactly one more card. The additional bet is placed in the betting box next to the original bet. Some games do not permit the player to increase the bet by amounts other than 100%. Non-controlling players may double their wager or decline to do so, but they are bound by the controlling player's decision to take only one card.
Signal: Place additional chips beside the original bet outside the betting box, and point with one finger.
Split: If the first two cards of a hand have the same value, the player can split them into two hands, by moving a second bet equal to the first into an area outside the betting box. The dealer separates the two cards and draws an additional card on each, placing one bet with each hand. The player then plays out the two separate hands in turn; except for a few restrictions, the hands are treated as independent new hands, with the player winning or losing their wager separately for each hand. Occasionally, in the case of ten-valued cards, some casinos allow splitting only when the cards have the identical ranks; for instance, a hand of 10-10 may be split, but not one of 10-king. However, usually all 10-value cards are treated the same. Doubling and further splitting of post-split hands may be restricted, and an ace and ten value card after a split are counted as a non-blackjack 21. Hitting split aces is usually not allowed. Non-controlling players may follow the controlling player by putting down an additional bet or decline to do so, instead associating their existing wager with one of the two post-split hands. In that case they must choose which hand to play behind before the second cards are drawn. Some casinos do not give non-controlling players this option, and require that the wager of a player not electing to split remains with the first of the two post-split hands.
Signal: Place additional chips next to the original bet outside the betting box; point with two fingers spread into a V formation.
Surrender (only available as first decision of a hand): Some games offer the option to "surrender" directly after the dealer has checked for blackjack (see below for variations). When the player surrenders, the house takes half the player's bet and returns the other half to the player; this terminates the player's interest in the hand.
Signal: The request to surrender is made verbally, there being no standard hand signal.
Hand signals are used to assist the "eye in the sky", a person or video camera located above the table and sometimes concealed behind one-way glass. The eye in the sky usually makes a video recording of the table, which helps in resolving disputes and identifying dealer mistakes, and is also used to protect the casino against dealers who steal chips or players who cheat. The recording can further be used to identify advantage players whose activities, while legal, make them undesirable customers. In the event of a disagreement between a player's hand signals and their words, the hand signal takes precedence. Each hand may normally "hit" as many times as desired so long as the total is not above hard 20. On reaching 21 (including soft 21), the hand is normally required to stand; busting is an irrevocable loss and the players' wagers are immediately forfeited to the house. After a bust or a stand, play proceeds to the next hand clockwise around the table. When the last hand has finished being played, the dealer reveals the hole card, and stands or draws further cards according to the rules of the game for dealer drawing. When the outcome of the dealer's hand is established, any hands with bets remaining on the table are resolved (usually in counterclockwise order): bets on losing hands are forfeited, the bet on a push is left on the table, and winners are paid out.
Insurance[]
If the dealer's upcard is an ace, the player is offered the option of taking "insurance" before the dealer checks the hole card.
Insurance is a side bet that the dealer has blackjack and is treated independently of the main wager. It pays 2:1 (meaning that the player receives two dollars for every dollar bet) and is available when the dealer's exposed card is an ace. The idea is that the dealer's second card has a fairly high probability (nearly one-third) to be ten-valued, giving the dealer blackjack and disappointment for the player. It is attractive (although not necessarily wise) for the player to insure against the possibility of a dealer blackjack by making a maximum "insurance" bet, in which case the "insurance proceeds" will make up for the concomitant loss on the original bet. The player may add up to half the value of their original bet to the insurance and these extra chips are placed on a portion of the table usually marked "Insurance pays 2 to 1".
Players with a blackjack may also take insurance, and in taking maximum insurance they commit themselves to winning an amount exactly equal to their main wager, regardless of the dealer's outcome. Fully insuring a blackjack against blackjack is thus referred to as "taking even money", and paid out immediately, before the dealer's hand is resolved; the players do not need to place more chips for the insurance wager.
Insurance bets are expected to lose money in the long run, because the dealer is likely to have blackjack less than one-third of the time. However the insurance outcome is strongly anti-correlated with that of the main wager, and if the player's priority is to reduce variation, they might choose to pay for this.
Furthermore, the insurance bet is susceptible to advantage play. It is advantageous to make an insurance bet whenever the hole card has more than a chance of one in three of being a ten. Advantage play techniques can sometimes identify such situations. In a multi-hand, face-up, single deck game, it is possible to establish whether insurance is a good bet simply by observing the other cards on the table after the deal; even if there are just 2 player hands exposed, and neither of their two initial cards is a ten, then 16 in 47 of the remaining cards are tens, which is larger than 1 in 3, so insurance is a profitable bet. This is an elementary example of the family of advantage play techniques known as card counting.
Bets to insure against blackjack are slightly less likely to be advantageous than insurance bets in general, since the ten in the player's blackjack makes it less likely that the dealer has blackjack too.[6]
Rule variations and effects on house edge[]
Note: where changes in the house edge due to changes in the rules are stated in percentage terms, the difference is usually stated here in percentage points, not percentage; strictly speaking if, say, an edge of 10% is reduced to 9%, the amount is reduced by ten percent, or by one percentage point.
The rules of casino blackjack are generally determined by law or regulation, which establishes certain rule variations allowed at the discretion of the casino. The rules of any particular game are generally posted on or near the table, failing which there is an expectation that casino staff will provide them on request. Over 100 variations of blackjack have been documented.[7]
As with all casino games, blackjack incorporates a "house edge", a statistical advantage for the casino that is built into the game. The advantage of the dealer's position in blackjack relative to the player comes from the fact that if the player busts, the player loses, regardless of whether the dealer subsequently busts. Nonetheless, blackjack players using basic strategy will lose less than 1% of their total wagered amount with strictly average luck; this is very favorable to the player compared to other casino games. The loss rate of players who deviate from basic strategy through ignorance is generally expected to be greater.
Dealer hits soft 17
Each game has a rule about whether the dealer must hit or stand on soft 17, which is generally printed on the table surface. The variation where the dealer must hit soft 17 is abbreviated "H17" in blackjack literature, with "S17" used for the stand-on-soft-17 variation. Substituting an "H17" rule with an "S17" rule in a game benefits the player, decreasing the house edge by about 0.2%.
Number of decks
All things being equal, using fewer decks decreases the house edge. This mainly reflects an increased likelihood of player blackjack, since if the players draws a ten on their first card, the subsequent probability of drawing an ace is higher with fewer decks. It also reflects a decreased likelihood of blackjack-blackjack push in a game with fewer decks.
Casinos generally compensate by tightening other rules in games with fewer decks, in order to preserve the house edge or discourage play altogether. When offering single deck blackjack games, casinos are more likely to disallow doubling on soft hands or after splitting, to restrict resplitting, require higher minimum bets, and to pay the player less than 3:2 for a winning blackjack.
The following table illustrates the mathematical effect on the house edge of the number of decks, by considering games with various deck counts under the following ruleset: double after split allowed, resplit to four hands allowed, no hitting split aces, no surrender, double on any two cards, original bets only lost on dealer blackjack, dealer hits soft 17, and cut-card used. The increase in house edge per unit increase in the number of decks is most dramatic when comparing the single deck game to the two-deck game, and becomes progressively smaller as more decks are added.
Number of decks House advantage Single deck 0.17% Double deck 0.46% Four decks 0.60% Six decks 0.64% Eight decks 0.65%
Late/early surrender
Surrender, for those games that allow it, is usually not permitted against a dealer blackjack; if the dealer's first card is an ace or ten, the hole card is checked to make sure there is no blackjack before surrender is offered. This rule protocol is consequently known as "late" surrender. The alternative, "early" surrender, gives player the option to surrender before the dealer checks for blackjack, or in a no-hole-card game. Early surrender is much more favorable to the player than late surrender. Most medium-strength hands should be surrendered against a dealer Ace if the hole card has not been checked.
For late surrender, however, while it is tempting to opt for surrender on any hand which will probably lose, the correct strategy is to only surrender on the very worst hands, because having even a one in four chance of winning the full bet is better than losing half the bet and pushing the other half, as entailed by surrendering.
Resplitting
If the cards of a post-split hand have the same value, most games allow the player to split again, or "resplit". The player places a further wager and the dealer separates the new pair dealing a further card to each as before. Some games allow unlimited resplitting, while others may limit it to a certain number of hands, such as four hands (for example, "resplit to 4").
Hit/resplit split aces
After splitting aces, the common rule is that only one card will be dealt to each ace; the player cannot split, double, or take another hit on either hand. Rule variants include allowing resplitting aces or allowing the player to hit split aces. Games allowing aces to be resplit are not uncommon, but those allowing the player to hit split aces are extremely rare. Allowing the player to hit hands resulting from split aces reduces the house edge by about 0.13%; allowing resplitting of aces reduces house edge by about 0.03%. Note that a ten-value card dealt on a split ace (or vice versa) is a "soft 21" and not a "natural".
No double after split
After a split, most games allow doubling down on the new two-card hands. Disallowing doubling after a split increases the house edge by about 0.12%.
Double on 9/10/11 or 10/11 only
Under the "Reno rule", double down is only permitted on hard totals of 9, 10, or 11 (under a similar European rule, only 10 or 11). Basic strategy would otherwise call for some doubling down with hard 9 and soft 13–18, and advanced players can identify situations where doubling on soft 19–20 and hard 8, 7 and even 6 is advantageous. The Reno rule prevents the player from taking advantage of double down in these situations and thereby increases the player's expected loss. The Reno rule increases the house edge by around 1 in 1,000, and its European version by around 1 in 500.
No hole card and OBO
In most non-U.S. casinos, a 'no hole card' game is played, meaning that the dealer does not draw nor consult his or her second card until after all players have finished making decisions. With no hole card, it is almost never correct basic strategy to double or split against a dealer ten or ace, since a dealer blackjack will result in the loss of the split and double bets; the only exception is with a pair of aces against a dealer 10, where it is still correct to split. In all other cases, a stand, hit or surrender is called for. For instance, holding 11 against a dealer 10, the correct strategy is to double in a hole card game (where the player knows the dealer's second card is not an ace), but to hit in a no hole card game. The no hole card rule adds approximately 0.11% to the house edge.
The "original bets only" rule variation appearing in certain no hole card games states that if the player's hand loses to a dealer blackjack, only the mandatory initial bet ("original") is forfeited, and all optional bets, meaning doubles and splits, are pushed. "Original bets only" is also known by the acronym OBO; it has the same effect on basic strategy and house edge as reverting to a hole card game.[8]
Altered payout for a winning blackjack
In many casinos, a blackjack pays only 6:5 or even 1:1 instead of the usual 3:2. This is most common at tables with lower table minimums. Although this payoff was originally limited to single-deck games, it has spread to double-deck and shoe games. Among common rule variations in the U.S., these altered payouts for blackjack are the most damaging to the player, causing the greatest increase in house edge. Since blackjack occurs in approximately 4.8% of hands, the 1:1 game increases the house edge by 2.3%, while the 6:5 game adds 1.4% to the house edge. Video blackjack machines generally pay 1:1 payout for a blackjack.[5]
Dealer wins ties
The rule that bets on tied hands are lost rather than pushed is catastrophic to the player. Though rarely used in standard blackjack, it is sometimes seen in "blackjack-like" games such as in some charity casinos.
Blackjack strategy[]
Basic strategy[]
Each blackjack game has a basic strategy, which is playing a hand of any total value against any dealer's up-card, which loses the least money to the house in the long term.
An example of basic strategy is shown in the table below, and includes the following parameters:[9]
Four to eight decks
The dealer hits on a soft 17
A double is allowed after a split
Only original bets are lost on dealer blackjack
Player hand Dealer's face-up card 2 3 4 5 6 7 8 9 10 A Hard totals (excluding pairs) 17–20 S S S S S S S S S S 16 S S S S S H H SU SU SU 15 S S S S S H H H SU H 13–14 S S S S S H H H H H 12 H H S S S H H H H H 11 Dh Dh Dh Dh Dh Dh Dh Dh Dh Dh 10 Dh Dh Dh Dh Dh Dh Dh Dh H H 9 H Dh Dh Dh Dh H H H H H 5–8 H H H H H H H H H H Soft totals 2 3 4 5 6 7 8 9 10 A A,9 S S S S S S S S S S A,8 S S S S Ds S S S S S A,7 Ds Ds Ds Ds Ds S S H H H A,6 H Dh Dh Dh Dh H H H H H A,4–A,5 H H Dh Dh Dh H H H H H A,2–A,3 H H H Dh Dh H H H H H Pairs 2 3 4 5 6 7 8 9 10 A A,A SP SP SP SP SP SP SP SP SP SP 10,10 S S S S S S S S S S 9,9 SP SP SP SP SP S SP SP S S 8,8 SP SP SP SP SP SP SP SP SP SP 7,7 SP SP SP SP SP SP H H H H 6,6 SP SP SP SP SP H H H H H 5,5 Dh Dh Dh Dh Dh Dh Dh Dh H H 4,4 H H H SP SP H H H H H 2,2–3,3 SP SP SP SP SP SP H H H H
Key:
S = Stand
H = Hit
Dh = Double (if not allowed, then hit)
Ds = Double (if not allowed, then stand)
SP = Split
SU = Surrender (if not allowed, then hit)
The bulk of basic strategy is common to all blackjack games, with most rule variations calling for changes in only a few situations. For example, if the above game used the hit on soft 17 rule, common in Las Vegas Strip casinos, only 6 cells of the table would need to be changed: double on 11 vs. A, surrender 15 or 17 vs. A, double on A,7 vs. 2, double on A,8 vs. 6, surrender (if not allowed, then hit) on 8,8 vs. A. Also when playing basic strategy never take insurance or "even money."[9]
Estimates of the house edge for blackjack games quoted by casinos and gaming regulators are generally based on the assumption that the players follow basic strategy and do not systematically change their bet size.
Most blackjack games have a house edge of between 0.5% and 1%, placing blackjack among the cheapest casino table games. Casino promotions such as complimentary matchplay vouchers or 2:1 blackjack payouts allow the player to acquire an advantage without deviating from basic strategy.
Composition-dependent strategy[]
Basic strategy is based upon a player's point total and the dealer's visible card. Players may be able to improve on this decision by considering the precise composition of their hand, not just the point total. For example, players should ordinarily stand when holding 12 against a dealer 4. However, in a single deck game, players should hit if their 12 consists of a 10 and a 2. The presence of a 10 in the player's hand has two consequences:[10]
It makes the player's 12 a worse hand to stand on (since the only way to avoid losing is for the dealer to go bust, which is less likely if there are fewer 10s left in the shoe).
It makes hitting safer, since the only way of going bust is to draw a 10, and this is less likely with a 10 already in the hand.
However, even when basic and composition-dependent strategy lead to different actions, the difference in expected reward is small, and it becomes even smaller with more decks. Using a composition-dependent strategy rather than basic strategy in a single deck game reduces the house edge by 4 in 10,000, which falls to 3 in 100,000 for a six-deck game.[11]
Advantage play[]
Main article: Advantage player
Blackjack has been a high-profile target for advantage players since the 1960s. Advantage play is the attempt to win more using skills such as memory, computation, and observation. These techniques, while generally legal, can be powerful enough to give the player a long-term edge in the game, making them an undesirable customer for the casino and potentially leading to ejection or blacklisting if they are detected. The main techniques of advantage play in blackjack are as follows:
Card counting[]
Main article: Card counting
During the course of a blackjack shoe, the dealer exposes the dealt cards. Careful accounting of the exposed cards allows a player to make inferences about the cards which remain to be dealt. These inferences can be used in the following ways:
Players can make larger bets when they have an advantage. For example, the players can increase the starting bet if there are many aces and tens left in the deck, in the hope of hitting a blackjack.
Players can deviate from basic strategy according to the composition of their undealt cards. For example, with many tens left in the deck, players might double down in more situations since there is a better chance of getting a good hand.
A card counting system assigns a point score to each rank of card (e.g., 1 point for 2–6, 0 points for 7–9 and −1 point for 10–A). When a card is exposed, a counter adds the score of that card to a running total, the 'count'. A card counter uses this count to make betting and playing decisions according to a table which they have learned. The count starts at 0 for a freshly shuffled deck for "balanced" counting systems. Unbalanced counts are often started at a value which depends on the number of decks used in the game.
Blackjack's house edge is usually between 0.5%–1% when players use basic strategy.[12] Card counting can give the player an edge of up to 2% over the house.[13]:5
Card counting is most rewarding near the end of a complete shoe when as few as possible cards remain. Single-deck games are therefore particularly advantageous to the card counting player. As a result, casinos are more likely to insist that players do not reveal their cards to one another in single-deck games. In games with more decks of cards, casinos limit penetration by ending the shoe and reshuffling when one or more decks remain undealt. Casinos also sometimes use a shuffling machine to reintroduce the exhausted cards every time a deck has been played.
Card counting is legal and is not considered cheating as long as the counter is not using an external device,[13]:6-7 but if a casino realizes a player is counting, the casino might inform them that they are no longer welcome to play blackjack. Sometimes a casino might ban a card counter from the property.[14]
The use of external devices to help counting cards is illegal in all US states that license blackjack card games.[15]
Shuffle tracking[]
Main article: Shuffle tracking
Techniques other than card counting can swing the advantage of casino blackjack toward the player. All such techniques are based on the value of the cards to the player and the casino as originally conceived by Edward O. Thorp.[16] One technique, mainly applicable in multi-deck games, involves tracking groups of cards (also known as slugs, clumps, or packs) during the play of the shoe, following them through the shuffle, and then playing and betting accordingly when those cards come into play from the new shoe. Shuffle tracking requires excellent eyesight and powers of visual estimation but is more difficult to detect since the player's actions are largely unrelated to the composition of the cards in the shoe.[17]
Arnold Snyder's articles in Blackjack Forum magazine brought shuffle tracking to the general public. His book, The Shuffle Tracker's Cookbook, mathematically analyzed the player edge available from shuffle tracking based on the actual size of the tracked slug. Jerry L. Patterson also developed and published a shuffle-tracking method for tracking favorable clumps of cards and cutting them into play and tracking unfavorable clumps of cards and cutting them out of play.[18][19][20]
Identifying concealed cards[]
The player can also gain an advantage by identifying cards from distinctive wear markings on their backs, or by hole carding (observing during the dealing process the front of a card dealt face down). These methods are generally legal although their status in particular jurisdictions may vary.
Side bets[]
Many blackjack tables offer a side bet on various outcomes including:[21]
Player hand and dealer's up card sum to 19, 20, or 21 ("Lucky Lucky")
Player initial hand is a pair ("Perfect pairs")
Player initial hand is suited, suited and connected, or a suited K-Q ("Royal match")
Player initial hand plus dealer's card makes a flush, straight, or three-of-a-kind poker hand ("21+3")
Player initial hand totals 20 ("Lucky Ladies")
Dealer upcard is in between the value of the players two cards ("In Bet")
First card drawn to the dealer will result in a dealer bust ("Bust It!")
One or both of the players cards is the same as the dealers card ("Match the Dealer")
The side wager is typically placed in a designated area next to the box for the main wager. A player wishing to wager on a side bet is usually required to place a wager on blackjack. Some games require that the blackjack wager should equal or exceed any side bet wager. A non-controlling player of a blackjack hand is usually permitted to place a side bet regardless of whether the controlling player does so.
The house edge for side bets is generally far higher than for the blackjack game itself. Nonetheless side bets can be susceptible to card counting. A side count, designed specifically for a particular side bet, can improve the player edge. Only a few side bets, like "Lucky Ladies", offer a sufficient win rate to justify the effort of advantage play.
In team play it is common for team members to be dedicated toward counting only a sidebet using a specialized count.
Blackjack tournaments[]
Blackjack can be played in tournament form. Players start with an equal numbers of chips; the goal is to finish among the top chip-holders. Depending on the number of competitors, tournaments may be held over several rounds, with one or two players qualifying from each table after a set number of deals to meet the qualifiers from the other tables in the next round. Another tournament format, Elimination Blackjack, drops the lowest-stacked player from the table at pre-determined points in the tournament. Good strategy for blackjack tournaments can differ from non-tournament strategy because of the added dimension of choosing the amount to be wagered. As in poker tournaments, players pay the casino an initial entry fee to participate in a tournament, and re-buys are sometimes permitted.
Video blackjack[]
Some casinos, as well as general betting outlets, provide blackjack among a selection of casino-style games at electronic consoles. Video blackjack game rules are generally more favorable to the house; e.g., paying out only even money for winning blackjacks. Video and online blackjack games generally deal each round from a fresh shoe, rendering card counting ineffective in most situations.
Variants of the game[]
Blackjack is a member of a large family of traditional card games played recreationally all around the world. Most of these games have not been adapted for casino play. Furthermore, the casino game development industry is very active in producing blackjack variants, most of which are ultimately not adopted for widespread use in casinos. The following are the prominent twenty-one themed comparing card games which have been adapted or invented for use in casinos and have become established in the gambling industry.
Spanish 21 provides players with many liberal blackjack rules, such as doubling down any number of cards (with the option to rescue, or surrender only one wager to the house), payout bonuses for five or more card 21s, 6–7–8 21s, 7–7–7 21s, late surrender, and player blackjacks always winning and player 21s always winning, at the cost of having no 10 cards in the deck (though there are jacks, queens, and kings). An unlicensed version of Spanish 21 played without a hole card is found in Australian casinos under the name "Pontoon" (presumably borrowed from the British recreational blackjack-like game "Pontoon" which has substantially different rules).
21st-Century Blackjack (also known as "Vegas Style" Blackjack) is found in California card rooms. In this form of the game, a player bust does not always result in an automatic loss; depending on the casino, the player can still push if the dealer busts as well, although the dealer typically has to bust with a higher total.
Double Exposure Blackjack deals the first two cards of the dealer's hand face up. Blackjacks pay even money, and players lose on ties; also, they can neither buy insurance nor can they surrender their hand (as both dealer's cards are exposed at the outset).
Double Attack Blackjack has very liberal blackjack rules and the option of increasing one's wager after seeing the dealer's up card. This game is dealt from a Spanish shoe, and blackjacks only pay even money.
Blackjack Switch is played over two hands whose second cards the player is allowed to interchange. For example, if the player is dealt 10–6 and 5–10, then the player can switch two cards to make hands of 10–10 and 6–5. Natural blackjacks are paid 1:1 instead of the standard 3:2, and a dealer 22 is a push.
Super Fun 21 allows a player to split a hand up to four times. If the player has six cards totaling 20, he automatically wins. Wins are paid 1:1.
Examples of the many local traditional and recreational blackjack-like games include French/German Blackjack, called Vingt-et-un (French: Twenty-one) or "Siebzehn und Vier" (German: Seventeen and Four). The French/German game does not allow splitting. An ace can only count as eleven, but two aces count as a blackjack. It is mostly played in private circles and barracks. A British variation is called "Pontoon", the name being probably a corruption of "Vingt-et-un".
TV show variations[]
Blackjack is also featured in various television shows. Here are a few shows inspired by the game.
Gambit was a game show with Wink Martindale where couples answer questions to collect cards that could add up to 21.
Catch 21 is a game show with Alfonso Ribeiro from The Fresh Prince of Bel-Air. On this show, three players answer questions to earn cards in order to win cash and ties are not allowed.
From 1980 to 2006, there was a blackjack-based pricing game on The Price is Right, called Hit Me. In this game, six grocery products were used, and five of those products' prices were multiplied by various numbers from 2 to 10, but with the one remaining product having the exact price. In order to win a large prize, the contestant had to achieve a score of 21 (which was usually done by picking a product whose price was multiplied by ten and the one that was correctly priced), or beat the house with any score that did not exceed 21.
Blackjack Hall of Fame[]
Main article: Blackjack Hall of Fame
In 2002, professional gamblers around the world were invited to nominate great blackjack players for admission into the Blackjack Hall of Fame. Seven members were inducted in 2002, with new people inducted every year after. The Hall of Fame is at the Barona Casino in San Diego. Members include Edward O. Thorp, author of the 1960s book Beat the Dealer which proved that the game could be beaten with a combination of basic strategy and card counting; Ken Uston, who popularized the concept of team play; Arnold Snyder, author and editor of the Blackjack Forum trade journal; Stanford Wong, author and popularizer of the "Wonging" technique of only playing at a positive count, and several others.
Blackjack in the arts[]
Novels have been written around blackjack and the possibility of winning games via some kind of method. Among these were The Blackjack Hijack (Charles Einstein, 1976), later produced as the TV movie Nowhere to Run, and Bringing Down the House (Ben Mezrich), also filmed as 21. An almost identical theme was shown in the 2004 Canadian film The Last Casino.
In The Hangover, an American comedy, four friends try to count cards to win back enough money to secure the release of their friend from the clutches of a notorious criminal they stole from the previous night while blacked out. A central part of the plot of Rain Man is that Raymond (Dustin Hoffman), an autistic savant, is able to win at blackjack by counting cards. In the 2014 film The Gambler we see Jim Bennett (Mark Wahlberg) playing high stakes Blackjack in order to win large sums of money. This movie displays different blackjack lingo and risky moves that have high rewards.
See also[]
Blackjack portal
The Gambler (film series)
Glossary of blackjack terms
MIT Blackjack Team
Blackjack literature[]
Beat the Dealer : A Winning Strategy for the Game of Twenty-One, Edward O. Thorp, 1966, ISBN 978-0-394-70310-7
Blackbelt in Blackjack, Arnold Snyder, 1998 (1980), ISBN 978-0-910575-05-8
Blackjack and the Law, I. Nelson Rose and Robert A. Loeb, 1998, ISBN 0-910575-08-8
Blackjack: A Winner's Handbook, Jerry L. Patterson, 2001, (1978), ISBN 978-0-399-52683-1
Encyclopedia of Casino Twenty-One, Michael Dalton, 2016, (1993), ISBN 1-879712-02-4
Ken Uston on Blackjack, Ken Uston, 1986, ISBN 978-0-8184-0411-5
Knock-Out Blackjack, Olaf Vancura and Ken Fuchs, 1998, ISBN 978-0-929712-31-4
Luck, Logic, and White Lies: The Mathematics of Games, Jörg Bewersdorff, 2004, ISBN 978-1-56881-210-6, 121–134, supplement: Blackjack calculator (JavaScript)
Million Dollar Blackjack, Ken Uston, 1994 (1981), ISBN 978-0-89746-068-2
Playing Blackjack as a Business, Lawrence Revere, 1998 (1971), ISBN 978-0-8184-0064-3
Professional Blackjack, Stanford Wong, 1994 (1975), ISBN 978-0-935926-21-7
The Theory of Blackjack, Peter Griffin, 1996 (1979), ISBN 978-0-929712-12-3
The Theory of Gambling and Statistical Logic, Richard A. Epstein, 1977, ISBN 978-0-12-240761-1, 215–251
The World's Greatest Blackjack Book, Lance Humble and Carl Cooper, 1980, ISBN 978-0-385-15382-9
The Blackjack Life, Nathaniel Tilton, 2012, ISBN 978-1935396338
BlackjackinColor
Regulation in the United Kingdom
The Gaming Clubs (Bankers' Games) No. 2899 Regulation 7 1994
The Gaming Clubs (Bankers' Games) (Amendment) No. 597 Regulation 3 2000
The Gaming Clubs (Bankers' Games)(Amendment) No. 1130 Regulation 2 2002
References[]
[]
Search for Blackjack at the Open Directory Project
Reviews of Australian online casinos at Aussiecasinoreviewer
Template:Blackjack Template:Banking games
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Interview: Mark Wahlberg Talks ‘The Gambler,’ Blackjack Research, J.C. Chandor’s Upcoming ‘Deepwater Horizon’ & More
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Interview: Mark Wahlberg Talks 'The Gambler,' Blackjack Research, J.C. Chandor’s Upcoming ‘Deepwater Horizon’ & More
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en
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IndieWire
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https://www.indiewire.com/features/general/interview-mark-wahlberg-talks-the-gambler-blackjack-research-j-c-chandors-upcoming-deepwater-horizon-more-269176/
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It seems a Hollywood project is never more than one or two steps away from Mark Wahlberg’s involvement. The past decade has seen the actor steadily grow into a producing force (“Entourage,” “Prisoners”) while still maintaining his studio-reliable leading man status (“Transformers: Age of Extinction,” “Ted”), but as with “The Fighter,” the smaller projects sometimes present the harder challenge. The most recent example is “The Gambler,” “Rise of the Planet of the Apes” director Rupert Wyatt’s remake of the 1974 Jimmy Caan original, and it’s easy to see why – it’s an unconventional gambling flick, in which a college Literature professor attempts to burn his finances to the ground to see what’s left.
At an AFI Fest screening of the film (our review here) and a roundtable discussion the next day, Wahlberg explained that the title was a bit misleading when it came to his character, Jim Bennett. “I didn’t see him as having a gambling addiction,” he said. “I feel like he just chose gambling as the way to strip himself of all those things that were holding him back from finding out who he was, and what he could be doing with his life.” For more of Wahlberg’s thoughts on the film, which co-stars John Goodman, Brie Larson, and Jessica Lange, as well as his slate of upcoming projects including J.C. Chandor’s “Blackwater Horizon,” take a look below.
On Reading William Monahan’s Script For “The Gambler”
I read it on the plane and I immediately started reading lines out loud, and you start realizing that it’s going to attract some great talent because they all have these opportunities to come in and showcase their abilities in pretty cool ways. John Goodman, Jessica Lange, all those guys. I normally have to go out and court people but the material really attracted people.
I’ve had some fairly bad experiences with remakes in the past and I was trying to stay away from them for a little while. But then we had a good experience with “The Italian Job,” and then I read the script. I’m a huge fan of Monahan, we worked together on “The Departed” and he wrote “American Desperado” for us, I was in this movie he directed called “Mojave.” We have a great rapport and I loved the part… It felt like it was cool and different and we could make it our own while still paying respect to the original.
On Convincing The Original ‘Gambler’ Lead and Screenwriter
I showed [screenwriter of the ’74 original] James Toback the movie early on actually when he came to Boston — I had to get him on my own turf in case he didn’t like the movie. He loved it, although there’s obviously certain things that he’s never going to really love about the movie because he has his own that he’s very proud of. And I also invited Jimmy Caan over to my house. We talked about the project beforehand, we worked together on “The Yards” and we have a great relationship, but I wanted to show him and have him like it. Coincidentally I have a row of pictures in my basement with some of my favorite actors — James Cagney, Steve McQueen, John Garfield, and Jimmy Caan. Someone had given me it as a gift and he saw it and said, “Did you put that up because you knew I was coming over?”
On Real-Life Research For The Role
I was in Hong Kong finishing up “Transformers 4” so we had a little day trip to Macau. I actually went to a casino, played blackjack, won a bunch of money. I didn’t have any Hong Kong money, so I borrowed it from the guys I was with; I hit a hand that the casino owner, who was with me at the time, said he’d never seen anyone hit. I got an Ace, then another Ace, split them, got another Ace, and then I got Jack, Queen, King. I won all this money, went over to the roulette wheel, put it down on black, lost, and left with the biggest smile on my face. My friends were like, “What are you doing?” I said, “Just wait until you see the movie, you’ll get it.” It was perfect and I didn’t lose a penny.
On His ‘Gambler’ Character’s Gaunt Physique
It’s just part of the job. I prepare physically and mentally for everything that I do, and I like doing both because you submerge yourself into the character and the world and you live it ‘til it’s over. That’s why one of my favorite things is finishing on that last day because I get to have my life back, let that go and have a real sense of accomplishment. But [the weight loss] was just what Rupert and those guys and [producer] Irwin [Winkler] wanted me to look like. But I was not a happy person, no one wanted to be around me. They thought I was bad when I had too much to drink – not having food is ten times worse.
On Bringing Out His Boston Roots in Hollywood
I just remember being in LA pursuing an acting career with a Boston accent, and it was always like a bit of a handicap. So I wanted to stay away from that until I went and did movies that required that accent to great success. “The Perfect Storm,” “The Departed,” “The Fighter.” It’s also nice to have a lot of real-life experience, street smarts. They help me because I have so much to draw on apart from techniques that you learn in class. Those are good to a certain extent but I don’t know if they ring true to the average person.
My disadvantages are things that I can fix — I have the tools, I have the thesaurus. I’m not afraid to ask questions either. I’m not the guy who will sit in a room with a guy using a bunch of big words and just pretend like I know what they mean. I’ll sit on set and just ask, “Hey what does that mean, explain to me.”
On Adapting “The Six Billion Dollar Man” With Peter Berg
We’re talking about doing “The Six Billion Dollar Man,” which is very much a superhero but I don’t have to wear any kind of spandex cape. So that would be cool. But Howard Gordon is writing the script and Peter Berg and I are talking about doing it. But we got a great, great idea and it’s something that’s been in the pipeline for some time, so if we get the script right maybe we’ll do it after “Deepwater Horizon.”
On Deepwater Horizon.
The script is one of the best I’ve read in a long time, and obviously it’s an amazing story and it’s brave of Lionsgate to make a movie that size and that scale with that kind of subject matter. J.C. Chandor is an amazing talent and he’s rewriting the script now. He’s just got such a great handle on the material, and we’ve had all this research and we really had access to all the transcripts of everything that happened. I think it’s going to be spectacular.
|
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| 58
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https://www.ranker.com/list/underrated-movies-about-gambling/mike-mcgranaghan
|
en
|
16 Underrated Gambling Movies Worth Betting The House On
|
https://imgix.ranker.com/list_img_v2/16492/3076492/original/3076492
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https://imgix.ranker.com/list_img_v2/16492/3076492/original/3076492
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2021-09-16T00:00:00
|
The 16 Underrated Gambling Movies Worth Betting The House On, as voted on by fans. Current Top 3: Rounders, Lock, Stock and Two Smoking Barrels, Maverick ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/underrated-movies-about-gambling/mike-mcgranaghan
|
Rounders is widely considered by gambling experts to be one of the most authentic films ever made on the topic. Gamblers love it, but general audiences never quite gelled to the movie, which only made $22 million at the box office, despite starring Matt Damon and Edward Norton. Damon's character, Mike, promises his girlfriend he'll give up poker after losing his $30,000 tuition money to a Russian gangster. He keeps that promise until old pal Worm gets out of jail. Worm has debts to settle, so Mike helps him get involved in a few games. But when those turn out to be failures, the only way Mike can help his buddy to is break the promise that he'd stay away from the tables.
Both actors give career-highlight performances in Rounders. The excellent supporting cast includes Gretchen Mol, John Malkovich, John Turturro, and Martin Landau. The movie also offers a compelling examination of the psychology of poker players. Mike and Worm have developed ways to trick and/or read their opponents. Watching them in action - and knowing they're in grave danger if they cross the gangster - provides non-stop tension.
Lock, Stock and Two Smoking Barrels follows four friends who get in a sticky situation after playing a high-stakes poker game with a crime lord. He cheats, leaving them half a million pounds in debt. With only one week to pay it off lest bad things happen to them, the guys decide to rob some other crooks. From there, a lot of violent mayhem begins.
Director Guy Ritchie gives his movie a fast pace, a streak of dark humor, and a gritty style that underlines how dangerous on-the-side gambling can be. It's one thing to do it in a professional casino, but doing it with lowlifes adds a level of physical anger. Adding to the fun is that none of the characters is what you'd call a conventional hero, so we get to watch them all work feverishly to screw one another over.
In Richard Donner's big-screen adaptation of the old TV show Maverick, Mel Gibson plays the title character, a card sharp who wants to enter a major poker contest. He doesn't have the cash to get in, so he has to utilize his scamming abilities to win lower-stakes games and earn the entrance fee. Meanwhile, a lawman (played by James Garner) is hot on his heels.
Maverick was a mid-sized box-office hit when it was released in 1994, but it hasn't maintained the ongoing popularity that some of Gibson's other films of that period have. That's a shame, because it's got a clever plot, witty dialogue, and an ace supporting performance from Jodie Foster as a con artist. Several solid action scenes add to the fun. As for the gambling, Maverick offers a lighthearted look at the psychological tricks people use in order to win at poker.
California Split follows two gamblers, Charlie (Elliott Gould) and Denny (George Segal). Together, they go on an all-out gambling spree, looking to make the proverbial big score. The two may share a love of gambling, but they couldn't be more different personality-wise. Charlie is a fun-loving guy, whereas Denny is a lot moodier. The story mostly revolves around their friendship during this trip.
Director Robert Altman specialized in creating tapestries of characters, and California Split is no different. There may be two men in the center, but the movie also gives time to a host of fascinating supporting players. The result is a picture that immerses you in the gambling culture, making you feel like you're temporarily living among these people. In a career full of acclaimed movies, this is widely considered one of Altman's best and most observant.
Inveterate gamblers are typically very superstitious. They believe random things can ruin their luck when they're on a hot streak. The Cooler plays on this idea. William H. Macy is Bernie, a professional jinx whose job is to meander through the casino and brush up against winning gamblers. As soon as he does this, they begin to lose. His career is put in jeopardy after he falls in love with waitress Natalie (Mario Bello). Being happy starts to take away his ability to spread bad luck, to the great dismay of the casino's manager (Alec Baldwin).
The Cooler digs into the kinds of superstitions that are ubiquitous in Las Vegas. It additionally reveals some of the little tricks casinos use to subliminally play with gambler's minds. Macy is extraordinarily effective as the sad-sack Bernie. We feel real empathy for him as his personal life improves and his professional life wanes. This often darkly funny film takes a fresh viewpoint on the world of gambling.
Did you know that Woody Harrelson, David Cross, Ray Romano, Mike Epps, Cheryl Hines, Judy Greer, Jason Alexander, and Werner Herzog made a movie together? Probably not, because The Grand earned just over $115,000 when it was released in theaters in 2007. You don't get much more under-the-radar than that.
The reason to see this movie is that it was created under fascinating circumstances. The story involves a bunch of gamblers taking part in a poker tournament. Each actor in the all-star cast was given a character to play, but they had to improvise their dialogue. From there, they played actual games of poker against one another, so nobody knew what the plot's outcome would be. It all depended on who won for real. This oddball structure makes The Grand compulsively watchable. You never know what's going to be said or done next, because the stars didn't either.
|
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6232
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| 41
|
https://www.tiktok.com/%40jamesleonidas1/video/7271365508857990442
|
en
|
Make Your Day
|
[] |
[] |
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""
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en
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https://www.vulture.com/article/whats-in-wes-andersons-the-wonderful-story-of-henry-sugar.html
|
en
|
What’s In Wes Anderson’s The Wonderful Story of Henry Sugar?
|
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[
"Bilge Ebiri"
] |
2023-09-02T08:56:14.869000-04:00
|
A quaint, optimistically naive short kicks off Wes Anderson’s Roald Dahl film series. Will this sweetness and light continue throughout the rest, or will Anderson complicate the matter further? That remains to be seen.
|
en
|
Vulture
|
https://www.vulture.com/article/whats-in-wes-andersons-the-wonderful-story-of-henry-sugar.html
|
This review was originally published earlier this month out of the Venice Film Festival. We are recirculating it now, timed to The Wonderful World of Henry Sugar’s streaming debut on Netflix.
It feels a little odd to assess Wes Anderson’s 39-minute short The Wonderful Story of Henry Sugar, given that it’s ultimately supposed to work as part of an omnibus of Roald Dahl adaptations by the director presented via Netflix. Those who’ve seen the whole series of shorts tell me that the films, when viewed together, have a kind of shape and trajectory that will be missing when seen as standalone efforts. On the other hand, this particular short has enough in it that at times it feels like a feature in miniature. Indeed, that might be part of the joke, as characters here often speaktheirlinesreallyfast, as if they’re tryingtofittwohoursworthofmaterialinto39minutes.
This accelerated tempo of the film is the source of some of its charm, but it also presents a spiritual context for a story about the transcendent power of focus. The film opens with Roald Dahl himself, played by Ralph Fiennes with admirable surliness, sitting in his cozy little writing hut, surrounded by pencils, cigarettes, coffee, chocolates, and eraser residue. (“So many bits of rubber.”) The author then presents us with the tale of Henry Sugar (Benedict Cumberbatch), a wealthy, 41-year-old man living in a hedonistic cocoon of privilege alongside other rich men. (As Dahl puts it: “They are not particularly bad men. But they are not good men either. They are of no real importance. They are simply part of the decoration.”) One day, trapped indoors by the rain, Henry finds in a library full of books he’ll never read a slim volume which relates the experiences of one Dr. Chatterjee (Dev Patel), who in turn recounts the story of a man named Imdad Khan (Ben Kingsley), a circus performer who could see without using his eyes.
Exploring further, Dr. Chatterjee learns that Imdad Khan learned this method by studying with a yogi who taught him to focus his mind on one thing at a time, eventually gaining the ability to see through objects. Enthused at the gambling possibilities of such an ability, the cynical Henry devotes himself to learning this method of concentrating the mind. (His first task is to imagine the face of the person he loves most — himself.) But gaining this kind of knowledge and ability ultimately transforms him on a deeper level, so that the prospect of making buckets of money gambling eventually ceases to give him much satisfaction.
Replicating Dahl’s original, the story is presented in a nesting doll structure, with each character’s story opening onto another’s. Alongside this, the movie’s hectic (albeit very precise) swirl of dialogue creates a background against which the idea of slowing down and directing all your attention towards one thing feels like a genuine rebuke of the world. It’s a simple and obvious enough conceit, but Anderson and his cast have such fun with it that they render it fresh and original. Everything in the film feels pointedly, almost aggressively constructed, even more so than the average Wes Anderson picture, with the short format giving him an excuse to indulge even further in theatrical motifs: Walls slide away to reveal new locations; one step moves us from one scene to another; clocks advance at super-speed; days, years fly by in a sentence; actors double up on roles; simple, transparent effects are presented as sources of wonderment. The result is delightful, but it also suggests a universe that requires our own imagination to be fully realized — which is, of course, the whole point of the story.
In some ways, this is a typically Andersonian tale of how precociousness can be a dead end, that imagination once unleashed can upend reality. Many of his best films are about the limits of knowledge. But in Henry Sugar, hitting those limits allows the protagonist to forge a new path, lending the film a quaint, almost naïve optimism. Will this sweetness and light continue throughout his forthcoming Dahl shorts, or will Anderson complicate the matter further? That remains to be seen.
|
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https://wizardofvegas.com/forum/gambling/blackjack/36422-new-movie-the-card-counter/
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en
|
new movie "The Card Counter" discussed in Blackjack
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"https://mc.yandex.ru/watch/95479746"
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[] |
[
"las vegas",
"gambling",
"forum",
"discussion"
] | null |
[] | null |
_________ debuts in theaters today - from Scorsese - got an excellent review from the NYT which I didn't link because of their...
|
en
|
/favicon.ico
|
https://wizardofvegas.com/forum/gambling/blackjack/36422-new-movie-the-card-counter/
|
Quote: Wizard
I just saw it.
Let me say, most importantly, that this isn't a gambling movie. It is about a mid-level advantage player, mainly poker but also blackjack, but the gambling is only touched on lightly. The movie is very badly named and I feel misled.
The movie is about the guards who worked interrogating and torturing prisoners in Iraq in the early 2000's. Their lives come together years after the fact. That is about as far as I'll take it. To go further might violate forum rules on political and controversial speech.
While I can't fault the movie on any technical level, it simply wasn't enjoyable to watch. I'm normally one to like dark movies, but I felt I was being tortured to watch it. However, I had to see how things would end, so I stuck with it.
Perhaps I'll write a longer review later. However, for now, please don't see this movie because it's a gambling movie. IT'S NOT!
|
|||
6232
|
dbpedia
|
0
| 36
|
https://theotherjournal.com/2011/06/seattle-international-film-festival-holy-rollers-the-true-story-of-card-counting-christians/
|
en
|
Seattle International Film Festival: Holy Rollers: The True Story of Card Counting Christians
|
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] |
[] |
[] |
[
""
] | null |
[
"otherjournal"
] |
2011-06-18T19:27:19+00:00
|
At a Seattle coffee shop, a friend of mine is talking about an intriguing fellow that both of us know. “Do you know how he pays the bills?” My friend smiles slyly. His half-whisper suggests that our mutual friend is up to something risky. I’m surprised to say that I don’t know. “He plays blackjack. […]
|
en
|
https://theotherjournal.com/wp-content/themes/toj/images/favicon.ico
|
The Other Journal
|
https://theotherjournal.com/2011/06/seattle-international-film-festival-holy-rollers-the-true-story-of-card-counting-christians/
|
At a Seattle coffee shop, a friend of mine is talking about an intriguing fellow that both of us know.
“Do you know how he pays the bills?” My friend smiles slyly. His half-whisper suggests that our mutual friend is up to something risky.
I’m surprised to say that I don’t know.
“He plays blackjack. And he’s good at it. He’s on a team of Christian blackjack players.”
Yeah, that was unexpected. Immediately I wanted to know more.
The very same hook is drawing attention to a new documentary by Bryan Storkel, which played at the Seattle International Film Festival last week.
Holy Rollers: The True Story of Card Counting Christians follows a team of churchgoing blackjack players from Seattle — including (full disclosure here) a friend of mine — as they express their loathing for casinos, lament the corruption that infests the gambling world, and then march in through those neon gateways, beat the system, and take millions of dollars from the casinos to feed their families.
These aren’t the rebellious youth who snark from the back row of the church youth group… although they might done so once upon a time. These are pastors and church leaders, “engaging the culture” in ways that, while striking and seemingly scandalous at first, actually bear a strong resemblance to many other vocations. We watch them study numbers and patterns. We watch them navigate complicated workplace dynamics and difficult coworker relationships. We see them thrill as they ride waves of success, and we watch stress plow furrows across their brows as they suffer lapses and slumps.
Does a team of card-counters who are Christians proceed differently than other gambling strategists?
It’s interesting to observe the team dynamics. It’s obvious that the members of the group care about each other, and that they are concerned both about the legality of their endeavors and about what is at stake: That is to say, their livelihood, and the well-being of their families. But you can also sense a camaraderie and a compassion that keeps them from devolving into accusations and suspicion… at least at first. When questions about a team-member’s trustworthiness surface, some of the team members are willing to be patient and give that person the benefit of the doubt.
It’s also clear that they are resisting many famous aspects of a gambler’s lifestyle: they resist addiction to the gambling buzz, they avoid any of the indulgence and bingeing that comes during times of success (although they do have ritual celebrations to acknowledge work well done).
Most interesting of all is the range of the team players’ perspectives (or rationalizations?) about their endeavors… not to mention the range of opinions among their family members (especially parents, who both object and invest). For some, card countin is a way of living in faith. For others, it’s a way of fighting a cultural enemy. For some, well, you might decide that they’re cloaking an unhealthy compulsion in the vocabulary of righteous justification.
But it’s surprising — and a little disappointing — to see how uninterested Storkel himself seems to be about the central tension of the movie. Doesn’t the gambling conflict with the kind of life that Christ calls his followers to live? Is “living in faith” really about hoping that the dice roll your way?
I kept waiting to learn that these men were involved in some kind of evangelical outreach to people in the casinos, or that they were investing money in some kind of care for gambling addicts. I half-expected they might end up trying to save somebody from the corruptions that are so obvious and prevalent in that environment.
Okay, so maybe they can get in and out of casinos without stumbling into crime or unhealthy indulgence. Maybe they can “take money” from an industry that is encouraging a lot of despair and destruction. But are they exploiting the wicked to feed the innocent, or are they living as parasites on the back of a monster? I wish the film had given us more that would have helped in that inevitable, volatile discussion.
I don’t raise these questions with any accusation in my voice. In fact, the more I think about the card-players’ probable answers, the more I realize just how much most of us “gamble” in our vocations, how we’re all working various systems to pay our bills, feed our families, and exercise our gifts. But I do raise these questions (and I wish the film had explored them more vigorously) because I know plenty of people who will ask them if I don’t… and they’ll ask with judgment in their voices.
The subject seems rich with interesting contradictions and ethical issues worth exploring, but Storkel seems to be a little too dazzled by the lights and the typical tensions regarding whether or not the team will go on winning at their game. The film frequently revisits the obvious dichotomy — the zeal for talking about God and salvation, and the parallel zeal for having figured out how to outsmart other gamblers and “the House” — but only scratches the surface, sufficing to say, “Wow. Crazy, huh?”
Still, Holy Rollers is a lot of fun to watch. And it gives us plenty of discussion fodder (some intentional, some incidental) for the after-movie trip to the pub… or the coffee shop, for those Christians who are wary of pubs. The closer Storkel gets to the individuals who are dedicated to this “vocation,” the more interesting the movie gets. And the filmmakers don’t miss any opportunity to grab bright lights and popular indie music to decorate their storytelling.
|
||||
6232
|
dbpedia
|
0
| 20
|
https://www.casino.com/blog/2023/12/05/top-blackjack-movies/
|
en
|
Top 5 Blackjack Movies of All
|
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[] |
[] |
[
""
] | null |
[
"Julian Miller"
] |
2023-12-05T00:00:00
|
Blackjack is one of the most classic casino games. Here are the top five movies that have captured the excitement of beating the house to 21.
|
en
|
Casino.com
|
https://www.casino.com/blog/2023/12/05/top-blackjack-movies/
|
There are a number of casino movies out there, many of them set in Las Vegas or Atlantic City. Though gambling acts as something of a backdrop in some, there are other movies where a specific game is at the center of the story. These blackjack movies do the game justice in more ways than one.
21 (2008)
We’ve all seen the GIF of Zach Galifianakis in deep thought, equations whipping around his head. That comes from this movie, based on the famed MIT Blackjack Team. A loaded cast led by Kevin Spacey shows the team’s journey from winning hundreds of thousands at Vegas casinos to its untimely downfall. With a strong romantic subplot, this one of the best blackjack-based movies ever.
Croupier (1998)
While most gambling-based movies are about the player, this one is unique since it is about a blackjack dealer. Jack Manfred is a writer who takes a croupier job just to make ends meet. He breaks casino policy, getting involved with a fellow employee despite having a girlfriend. The scene where Jack deals to his boss is one that lives on as one of the best in any blackjack movie.
Rain Man (1988)
Even for those who have never seen the movie, Dustin Hoffman’s performance as Raymond Babbitt lives on as legend. An autistic savant with an affinity to count cards, Raymond helps deeply indebted brother Charlie take the Vegas blackjack tables by storm. This movie is littered with famous quotes, including one about Judge Wapner.
The Last Casino (2004)
The famed MIT Blackjack Team has been the subject of a few movies. Led by their professor, The Last Casino follows Professor Barnes as he puts together a team of students to pull off an epic live casino takedown. The math geniuses battle with trying to win big while battling the pressures brought on by Barnes, who fights his own demons in a compulsive gambling addiction. It’s a made for TV movie, but it certainly does not feel like one.
The Gambler (2014)
|
|||||
6232
|
dbpedia
|
2
| 81
|
https://www.esquire.com/entertainment/movies/g39457023/best-gambling-movies/
|
en
|
18 Best Gambling Movies
|
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[
""
] | null |
[
"Josh Rosenberg"
] |
2022-03-18T18:17:22.873782-04:00
|
Whether you’re out to beat the house or just want to hear the sounds of slots spinning, these are the best gambling movies to put you right in the action.
|
en
|
/_assets/design-tokens/esquire/static/images/favicon.9bd3ce0.ico
|
Esquire
|
https://www.esquire.com/entertainment/movies/g39457023/best-gambling-movies/
|
Gambling movies are so remarkably tense for viewers because the stakes of casino games are already inherently high. Betting it all. Losing your shirt. Staring down your opponent, trying to read their mind. Perhaps it's not surprising then that filmmakers have returned to the well as inspiration for thrillers, dramas, and action-packed adventures over the years.
The main characters in these films are upping the ante by risking their lives on the big score, falling into debt or addiction—or trying to game the system. Sometimes, they're running underworld operations; sometimes those involved are super spies. No matter the set up, you can bet you'll be entertained.
Whether you’re in it to learn how to beat the house or just want to hear the soothing sounds of chips stacking and slots spinning, these are the best gambling movies to put you right in the action.
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6232
|
dbpedia
|
3
| 18
|
https://gigazine.net/gsc_news/en/20240808-multiverse-fallacy
|
en
|
What is the 'reverse gambler's fallacy' theory that philosophers say may be wrong about the multiverse theory?
|
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[] |
2024-08-08T08:00:00+09:00
|
The multiverse theory is a theory in theoretical physics that claims that there are multiple universes other than the one we live in, and is discussed in the fields of physics, philosophy, and logic. At this time, philosophers have explained that one of the reasons used by multiverse theorists contains a fundamental error called the ' reverse gambler's fallacy .' Many physicists assume we must live in a multiverse – but their basic maths may be wrong https://theconversation.com/many-physicists-assume-we-must-live-in-a-multiverse-but-their-basic-maths-may-be-wrong-216106 The physics of the world we live in sometimes seems finely tuned for life. In the book ' A Fortunate Universe Life in a Finely Tuned Cosmos ' published by Geraint F. Lewis of the University of Sydney and others, they point out that if the fundamental constants and fundamental laws of physics in this world were just a little different in value, the story on Earth would be fundamentally different, and life like ours would not be able to survive. For example, if the hypothetical dark energy that drives the accelerating expansion of the universe were just a little stronger than it is now, matter would not be able to condense, stars and planets would not be born, and life would not be able to exist. The theory that the universe has 'consciousness' and has made adjustments that are favorable for the birth of life is being seriously debated - GIGAZINE A commonly used explanation for why physics seems fine-tuned is the multiverse theory. Multiverse theorists believe that we live in one of many universes, and that other universes have different physics values. Life could not have arisen in such a universe, but there is a small probability that a universe could have arisen where all the values happened to be just right for life to arise, and that universe is ours. The theory of the multiverse has been considered a plausible explanation for the fine-tuning of physics, but Philip Gough, an associate professor of philosophy at Durham University in the UK, points out in his book Why? The Purpose of the Universe that multiverse theories 'commit the reverse gambler's fallacy.' The ' gambler's fallacy ' refers to, for example, when flipping a coin and getting heads three times in a row, thinking, 'Heads and tails are both 50/50, so if I'm biased towards heads three times in a row, the next time I'll get tails will be more likely.' Since the observed results are always independent stochastic processes, the probability up to that point should have no bearing, but a series of memories can cause the calculation of probability to be incorrect. The 'reverse gambler's fallacy,' named by philosopher Ian Hacking in relation to the gambler's fallacy, is literally the reverse of the gambler's fallacy. When you flip a coin three times in a row and get tails, you think, 'Since the probability converges to get an equal number of heads and tails, if you get three tails now, then someone must have flipped a coin many times and got heads in a row.' This refers to the idea that when a rare result is obtained from a random process, the person must have tried enough times to get that rare result. Both the gambler's fallacy and the reverse gambler's fallacy are based on the idea that 'probabilities converge.' However, small probabilities are merely 'unlikely to occur,' and are not abnormal when they do occur. Furthermore, a certain probability is always constant regardless of previous actions or results. Goff argues that multiverse theorists fall into the reverse gambler's fallacy when they claim that our universe is filled with the right numbers for life. Because this is probabilistically impossible, there must be many other universes in which the numbers don't line up properly. The prevailing scientific theory is that the physical numbers governing the universe have remained constant since the Big Bang. In this case, there are two ways of thinking: either it is an incredible coincidence that our universe happens to have numbers suitable for life, or nature is driven by some unseen, inherent principle to develop life. Goff argues that it is too difficult to dismiss as coincidence, and in his book he presents a theory of the 'purpose of the universe' and discusses its impact on the meaning and purpose of humanity.
|
en
|
GIGAZINE
|
https://gigazine.net/gsc_news/en/20240808-multiverse-fallacy/
|
The multiverse theory is a theory in theoretical physics that claims that there are multiple universes other than the one we live in, and is discussed in the fields of physics, philosophy, and logic. At this time, philosophers have explained that one of the reasons used by multiverse theorists contains a fundamental error called the ' reverse gambler's fallacy .'
Many physicists assume we must live in a multiverse – but their basic maths may be wrong
https://theconversation.com/many-physicists-assume-we-must-live-in-a-multiverse-but-their-basic-maths-may-be-wrong-216106
The physics of the world we live in sometimes seems finely tuned for life. In the book ' A Fortunate Universe Life in a Finely Tuned Cosmos ' published by Geraint F. Lewis of the University of Sydney and others, they point out that if the fundamental constants and fundamental laws of physics in this world were just a little different in value, the story on Earth would be fundamentally different, and life like ours would not be able to survive. For example, if the hypothetical dark energy that drives the accelerating expansion of the universe were just a little stronger than it is now, matter would not be able to condense, stars and planets would not be born, and life would not be able to exist.
The theory that the universe has 'consciousness' and has made adjustments that are favorable for the birth of life is being seriously debated - GIGAZINE
A commonly used explanation for why physics seems fine-tuned is the multiverse theory. Multiverse theorists believe that we live in one of many universes, and that other universes have different physics values. Life could not have arisen in such a universe, but there is a small probability that a universe could have arisen where all the values happened to be just right for life to arise, and that universe is ours.
The theory of the multiverse has been considered a plausible explanation for the fine-tuning of physics, but Philip Gough, an associate professor of philosophy at Durham University in the UK, points out in his book Why? The Purpose of the Universe that multiverse theories 'commit the reverse gambler's fallacy.'
The '
gambler's fallacy ' refers to, for example, when flipping a coin and getting heads three times in a row, thinking, 'Heads and tails are both 50/50, so if I'm biased towards heads three times in a row, the next time I'll get tails will be more likely.' Since the observed results are always independent stochastic processes, the probability up to that point should have no bearing, but a series of memories can cause the calculation of probability to be incorrect.
The 'reverse gambler's fallacy,' named by philosopher Ian Hacking in relation to the gambler's fallacy, is literally the reverse of the gambler's fallacy. When you flip a coin three times in a row and get tails, you think, 'Since the probability converges to get an equal number of heads and tails, if you get three tails now, then someone must have flipped a coin many times and got heads in a row.' This refers to the idea that when a rare result is obtained from a random process, the person must have tried enough times to get that rare result.
Both the gambler's fallacy and the reverse gambler's fallacy are based on the idea that 'probabilities converge.' However, small probabilities are merely 'unlikely to occur,' and are not abnormal when they do occur. Furthermore, a certain probability is always constant regardless of previous actions or results.
Goff argues that multiverse theorists fall into the reverse gambler's fallacy when they claim that our universe is filled with the right numbers for life. Because this is probabilistically impossible, there must be many other universes in which the numbers don't line up properly.
The prevailing scientific theory is that the physical numbers governing the universe have remained constant since the Big Bang. In this case, there are two ways of thinking: either it is an incredible coincidence that our universe happens to have numbers suitable for life, or nature is driven by some unseen, inherent principle to develop life. Goff argues that it is too difficult to dismiss as coincidence, and in his book he presents a theory of the 'purpose of the universe' and discusses its impact on the meaning and purpose of humanity.
Aug 08, 2024 08:00:00 in Science, Posted by log1e_dh
|
|||||
6232
|
dbpedia
|
2
| 8
|
https://forumserver.twoplustwo.com/29/news-views-gossip/view-3x-honored-poker-script-quot-vegas-knights-quot-could-greatest-gambling-movie-ever-made-1824489/index8.html
|
en
|
View: 3x honored poker script "Vegas Knights" could be the greatest gambling movie ever made.
|
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[] | null |
Quote: Originally Posted by weeeez
|
en
|
https://forumserver.twoplustwo.com/29/news-views-gossip/view-3x-honored-poker-script-quot-vegas-knights-quot-could-greatest-gambling-movie-ever-made-1824489/index8.html
|
I asked Chat GPT to write a script about the following topics
the positive aspects of gambling,
the negative aspects of gambling,
showing there are quality/good people who gamble,
showing there are low lifes who gamble,
showing some of the history of poker.
showing some of the eccentric famous poker players of the past,
giving a glimpse at life in Vegas during the heart of the poker boom - 2005.
taking a look at the Poker Hall of Fame photo display,
a look at the deep strategy and skill involved in poker,
a look at both limit and no-limit poker,
a segment (only about 13% of story) on how gambling addiction can effect an individual/family.
a look at the famous tournament the World Series of Poker,
a look at craps,
a look at blackjack (including a swim-up-to blackjack table)
a look at sports betting
a look at slots,
a look at some very attractive women tourists in bathing suits.
an inside look at some of the people who work in casinos and poker rooms,
a more in depth look at the city of Vegas greater than any other film
a look at several famous Vegas hotels of the past,
a look at the demolition of those famous Vegas hotels of the past.
a look at some of the beautiful areas surrounding Vegas including Hoover Dam and Valley of Fire State park.
a look at the relatively well known university (UNLV) located in Vegas,
A look at some of the famous poker strategy books.
A look at a real interview of an ex-president talking poker.
A surprising look at a major religion’s policy on wagering.
And the story even includes a highly unusual card trick.
Please see below. I have already won 4 honors.
Title: All In: A Vegas Story
INT. VEGAS CASINO - POKER ROOM - NIGHT
A bustling poker room at the heart of the Vegas boom in 2005. The camera pans around the table, showcasing the thrill of poker.
NARRATOR (V.O.)
(Voiceover)
"In the city of dreams, fortunes are won and lost. This is the story of the poker world: its triumphs and tragedies, its legends and outlaws."
POSITIVE ASPECTS OF GAMBLING
INT. VEGAS CASINO - HIGH ROLLER SUITE - DAY
Meet JASON (30s, charming), a skillful poker player, as he wins a high-stakes tournament. His winnings fund a charity helping underprivileged kids, highlighting the positive impact of gambling.
NEGATIVE ASPECTS OF GAMBLING
INT. SUPPORT GROUP MEETING - NIGHT
SARAH (40s, struggling), opens up about her gambling addiction, shedding light on the dark side of gambling and its impact on individuals and families.
QUALITY/GOOD PEOPLE WHO GAMBLE
EXT. POKER TOURNAMENT - DAY
At the World Series of Poker, we meet LINDA (50s, poised), a highly skilled female poker player, and TOM (60s, charismatic), a veteran poker pro. They inspire others with their noble intentions of using winnings to help the less fortunate.
LOW LIFES WHO GAMBLE
INT. SHADY CASINO BACKROOM - NIGHT
We encounter MIKE (40s, cunning), a deceitful gambler who cheats at cards. He represents the darker side of the poker world.
THE HISTORY OF POKER
FLASHBACK SEQUENCE - VARIOUS LOCATIONS - DIFFERENT ERAS
Through a captivating montage, we glimpse the origins and evolution of poker, from its roots in the Old West to its rise in popularity during the Vegas boom.
ECCENTRIC FAMOUS POKER PLAYERS
INT. POKER HALL OF FAME - DAY
The camera pans across portraits of colorful poker legends from the past, such as "Wild" Bill Hickok and Amarillo Slim, giving insight into their eccentricities.
LIFE IN VEGAS DURING THE POKER BOOM - 2005
INT. STRIP CLUB - NIGHT
JACK (30s, extroverted) shares stories of his wild adventures during the poker boom while dancers entertain in the background.
THE POKER HALL OF FAME PHOTO DISPLAY
INT. POKER HALL OF FAME - DAY
Jason and Linda visit the Poker Hall of Fame, paying homage to the game's greatest players, immersing themselves in its rich history.
DEEP STRATEGY AND SKILL INVOLVED IN POKER
INT. POKER TOURNAMENT - DAY
Through expert commentary, we gain insights into the psychological and strategic aspects of poker, highlighting its depth and complexity.
LIMIT AND NO-LIMIT POKER
INT. POKER ROOM - DAY
Tom expertly navigates a limit poker game, contrasting it with Jason's intense no-limit tournament, showcasing the varying dynamics of each format.
GAMBLING ADDICTION'S EFFECT ON INDIVIDUALS/FAMILIES
INT. SARAH'S HOME - DAY
Sarah's addiction takes a toll on her family, emphasizing the devastating effects of gambling addiction.
WORLD SERIES OF POKER
INT. WSOP MAIN EVENT - DAY
The grand spectacle of the World Series of Poker, capturing the excitement, intensity, and camaraderie among players from around the world.
CRAPS, BLACKJACK, SPORTS BETTING, AND SLOTS
INT. VARIOUS CASINO FLOORS - DAY
Montage of different casino games and sports betting, showcasing the diverse range of gambling experiences in Vegas.
ATTRACTIVE WOMEN TOURISTS IN BATHING SUITS
EXT. POOL PARTY - DAY
A playful and light-hearted scene at a pool party, where beautiful women enjoy their time in Vegas.
PEOPLE WHO WORK IN CASINOS AND POKER ROOMS
INT. CASINO STAFF AREA - DAY
We get to know the hardworking and diverse staff who keep the casinos running smoothly.
A GLIMPSE INTO THE CITY OF VEGAS
AERIAL SHOTS OF LAS VEGAS - DAY
Stunning aerial views of the city, showcasing its vibrant nightlife, iconic landmarks, and neon-lit streets.
HISTORIC AND DEMOLISHED VEGAS HOTELS
INT. ABANDONED HOTEL - DAY
Jason visits an old, abandoned Vegas hotel, reminiscing about its former glory days, emphasizing the ever-changing landscape of the city.
BEAUTIFUL AREAS SURROUNDING VEGAS
EXT. HOOVER DAM AND VALLEY OF FIRE STATE PARK - DAY
Breathtaking landscapes surrounding Vegas, offering a respite from the glitz and glamour of the Strip.
UNIVERSITY OF NEVADA, LAS VEGAS (UNLV)
INT. UNLV CAMPUS - DAY
A glimpse into the academic side of Vegas as we explore the UNLV campus and its connection to the city.
FAMOUS POKER STRATEGY BOOKS
INT. JASON'S LIBRARY - NIGHT
Jason reads and gains inspiration from classic poker strategy books, highlighting the intellectual aspect of the game.
EX-PRESIDENT TALKS POKER
INT. TV STUDIO - DAY
In an unexpected twist, we witness an interview where a former president discusses his love for poker and its strategic parallels with politics.
A MAJOR RELIGION'S POLICY ON WAGERING
INT. CHURCH - DAY
An intriguing exploration of how a major religion grapples with the concept of wagering, touching on the moral complexities of gambling.
THE UNUSUAL CARD TRICK
INT. MAGIC SHOW - NIGHT
A mind-bending card trick performed by a mysterious illusionist leaves the audience awestruck.
FADE OUT:
NARRATOR (V.O.)
(Voiceover)
"In the end, Vegas remains a city of contradictions - a captivating blend of excitement, redemption, and temptation. Where the cards may fall, nobody truly knows."
The movie "All In: A Vegas Story" weaves together the different facets of gambling, showcasing its allure and consequences, while also painting a vivid picture of the fascinating world that is Las Vegas.
Liked by:
|
||||||
6232
|
dbpedia
|
1
| 3
|
https://www.imdb.com/title/tt0071532/reviews
|
en
|
Spieler ohne Skrupel (1974)
|
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[] | null |
Spieler ohne Skrupel (1974) on IMDb: Movies, TV, Celebs, and more...
|
IMDb
|
https://www.imdb.com/title/tt0071532/reviews
| |||||||
6232
|
dbpedia
|
3
| 19
|
https://storyempire.com/2018/05/02/basic-plots-comedy/
|
en
|
Basic Plots: Comedy
|
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[] |
[] |
[
""
] | null |
[
"Staci Troilo"
] |
2018-05-02T00:00:00
|
Ciao, SEers. On March 21, I started a series of posts on the seven basic plot types, as defined by Christopher Booker. So far, we’ve covered Rebirth and Tragedy. Today, we’re going to talk about Comedy. Comedies aren’t necessarily laugh-out-loud humor pieces, although they can be. Essentially, these are works with happy or uplifting endings.…
|
en
|
Story Empire
|
https://storyempire.com/2018/05/02/basic-plots-comedy/
|
Ciao, SEers. On March 21, I started a series of posts on the seven basic plot types, as defined by Christopher Booker. So far, we’ve covered Rebirth and Tragedy. Today, we’re going to talk about Comedy.
Comedies aren’t necessarily laugh-out-loud humor pieces, although they can be. Essentially, these are works with happy or uplifting endings. The tone throughout will typically be lighter than that of a tragedy, but it can still be a dramatic story.
A comedy is about triumph over adversity. A series of problems—often mistakes or secrets—stymie the hero. Characters are out of harmony because of frustration, selfishness, bitterness, confusion, lies, etc. Finally, clarity is achieved and the ending is a positive one. Many times this resolution is depicted through a marriage of the hero and heroine. Because of this, it should come as no surprise that most romances and fairy tales fall into this category.
Here’s a list of some of the better-known comedies:
Much Ado About Nothing
The Merchant of Venice
Singin’ in the Rain
Guys and Dolls
Ocean’s Eleven
Here’s a basic template for writing a comedy. I’ll use Guys and Dolls as my example.
Establish the Status Quo.
This really isn’t a surprise. Most works establish the storyworld before introducing the inciting incident.
In the case of Guys and Dolls, Sky Masterson is a gambler—not just a high roller, but the highest of rollers. A bit of a legend. He’s been known to bet ridiculous amounts of money on the most trivial things. He’s in town during Nathan Detroit’s big floating craps game, but he’s not really interested in it. Isn’t interested in a side bet Nathan tries to goad him into, either. On the other hand, we have Sister Sarah, who runs a mission. She’s a pure as they come. But her mission is failing, and she needs sinners to work with or the mission will be closed.
Confusion and Isolation
The purpose here is to stack everyone against each other. Sow the seeds of misunderstandings and keep everybody apart.
In Guys and Dolls, Nathan needs money, and Sky won’t take his side bet, but he’s interested when Nathan wagers he can’t take Sarah to Havana. This is new, and so he accepts the challenge. And he wins. He gets her to Havana, where she gets drunk and admits her love for him. Meanwhile, Nathan uses her absence to host his floating craps game at the mission. When Sky and Sarah return and she learns what happened, she blames Sky, who was actually oblivious. Now she’s angry with him for using her and humiliating her, and he’s confused because he’d been winning her over, and now—through no fault of his own—he’s lost her.
Raise the Stakes
This is where more confusions are added to the mix, and the puzzle looks impossible to solve.
In Guys and Dolls, Nathan tries to pay Sky, but Sky lies (to protect Sarah’s reputation) and claims he lost, so he pays Nathan instead. Nathan’s game can then continue, and Sky goes to it even though he declined the invitation before. Instead of betting the guys for money, he puts his money up against their “souls” so he can help Sarah. If he loses, he’ll pay out a fortune. But if he wins, they have to go to the mission so it doesn’t close—not a typical wager for any of these men.
Problems Solved
All of the miscommunications finally come to light, and the confusion is cleared up. The characters get their happily-ever-after ending.
In Guys and Dolls, Sarah learns that Sky was not involved in the craps game at the mission and that he really does love her. So much so that he helped save her mission, and without asking anything of her in return. After the confusion is cleared up, they realize they’re in love, then the gambler and the mission “doll” end up getting married.
Contemporary comedies are often resolved with a happy ending for a romantic couple—a wedding, or at least the decision to be together. Romances aren’t the only comedies, though. Any situation with a “comedy of errors” (see what I did there?) that ends in an uplifting way qualifies.
Have you written a comedy? Do you have a favorite you’ve watched or read? Share in the comments.
|
|||||
6232
|
dbpedia
|
2
| 43
|
https://www.telegraph.co.uk/tv/0/aaron-sorkins-poker-film-mollys-game/
|
en
|
Aaron Sorkin’s poker film is an ace depiction of a furtive world – with one flaw
|
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[] |
[
"Opinion",
"Apple News Blacklist",
"Television Editor's Choice",
"Comment",
"Gambling",
"Film",
"Television"
] | null |
[
"Victoria Coren Mitchell"
] |
2023-06-24T06:00:00+01:00
|
This week, Victoria has been remembering Molly’s Game
|
en
|
/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/core/resources/icons/favicon.ico
|
The Telegraph
|
https://www.telegraph.co.uk/tv/0/aaron-sorkins-poker-film-mollys-game/
|
Anyway, so far so fantastic for Molly’s Game: an accurate depiction of a furtive and little-seen world. The other thing that was happening, exactly when it came out, was that first explosion of energy in the #MeToo movement: the accusations against Harvey Weinstein had just gone public, the hashtag was going viral on social media, and both Hollywood and the wider world were flexing a new sort of feminist muscle. As the Chimney Sweep would say, “Let’s have a Mass Debate!”
It was an exciting time to go and see a movie about a clever, ambitious, determined woman who gave up professional skiing to run an illegal poker game. Not a smiley girl-next-door who finds love when she opens her own bakery; not the brave and loyal wife of an action man; not even a wisecracking fat/black/Jewish best friend: a properly new, complicated and uncategorisable person. I remember the trailers in the cinema before Molly’s Game started were for The Post (Meryl Streep playing tough and legendary newspaper publisher Katharine Graham) and I, Tonya (Margot Robbie and Allison Janney as the controversial figure skater Tonya Harding and her terrifying mother, both characters managing to be simultaneously unsympathetic yet likable). You could hear glass ceilings cracking under the pressure of nuance. It really felt like a moment for women in entertainment.
And then Molly Bloom got beaten up. Just as I was enjoying Jessica Chastain’s interesting performance, healthy beauty and multidimensional character: thump, crash, wallop as Molly was punched to the ground, kicked in the stomach and lay there bleeding and sobbing.
This actually happened to the real Molly Bloom, so it’s a relevant part of her story, but did it need to be shown at such length, and so visually? In an era that felt like it was looking for new ways to tell women’s stories, could they have explained any of this through sound alone, or metaphor, or anything more oblique? Will we ever get away from glossy, sexy violence?
Post-beating, the on-screen Molly stripped off and had a long, hot, painful shower. Is that what you’d do? She’s been beaten up in her own home. She neither leaves to go somewhere safe, nor remains motionless and shocked on the floor. She gets up, whips her kit off and slides under the water. Let the mass debating commence.
Was this a strong, honest way to show the truth of women’s lives? I don’t know. What I do know is that I was very disappointed, as a viewer in 2018, to see proud and nuanced Molly punished and humiliated in this visceral, lingering, old-school style.
So that’s the long answer. I prefer The Cincinnati Kid.
|
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https://www.amazon.com/The-Gambler-HD-John-OShea/product-reviews/B00GQ0E9U0
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https://www.openlettersmonthlyarchive.com/hammer-and-thump/my-not-so-shameful-love-of-wahlbergs-the-gambler-remake
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Shameful Love of Wahlberg’s The Gambler Remake — Open Letters Monthly
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2015-01-25T05:58:56-05:00
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Every now and then, killing time before a screening, some of us Chicago critics will try in vain to plan a sort of group Underdog Movie Marathon/Series. (I was going to say “sleepover,” but those implications are too horrifying to comprehend). The idea is that each critic shows a
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Open Letters Monthly
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https://www.openlettersmonthlyarchive.com/hammer-and-thump/my-not-so-shameful-love-of-wahlbergs-the-gambler-remake
|
Every now and then, killing time before a screening, some of us Chicago critics will try in vain to plan a sort of group Underdog Movie Marathon/Series. (I was going to say “sleepover,” but those implications are too horrifying to comprehend). The idea is that each critic shows a film they genuinely love—not ironically as “a bad movie,” but honestly enjoy on its own merits—but that everyone else hates.
The concept usually breaks down because we’ve found no matter what woe-begotten, critically-nuked, box-office disaster you proudly haul out as your favorite movie underdog, someone else in the group also likes it, and where’s the fun in that?
I mention this because while the remake of The Gambler from director Rupert Wyatt (Dawn of the Planet of the Apes) and screenwriter William Monahan (The Departed), starring and produced by Mark Wahlberg, is not getting completely critically stomped, it’s not all that appreciated, either.
Those who like it tend to give it a pass as a “not as bad as you’d expect” genre flick, and it’s been largely ignored at the box office by audiences who can’t get past the “Mark Wahlberg gambling movie” poster. And I mention it because I’m not sure The Gambler is a great, unappreciated gem—it might actually be a somewhat shallow, laughably preposterous and grandiose piece of overly-macho chintz that only I alone truly love.
But I do love this film. A lot. I know I might be loving it for all the wrong reasons; dazzled by its aggressive style; seduced by its torrent of smarty-pants speechifying; and perhaps personally relating to its pompous, narcissistic themes for all the wrong dime-store, bull-crap, pseudo-philosophical reasons. I love The Gambler like a Vegas show, or perhaps more appropriately, a Vegas casino: I willingly give into the illusion of depth and importance and all those flashing lights and amped emotions, even as I know all the fun is probably just covering up a seedy, hollow deception.
Producer Wahlberg put himself in the James Caan “Axel Freed” role from the 1974 version, which was directed by Karel Reisz and written by James Toback as part self-aggrandizing autobiographical ode to Toback’s own gambling addiction and part riff on Dostoyevsky’s semi-autobiographical novella The Gambler.
This time out the character is named Jim Bennett, but he’s still a college lit teacher who romanticizes his gambling as a philosophical-literary exercise in self-determination and is in way too deep of debt to unsavory, violent underworld characters.
However, the remake is not about a man with a self-destructive gambling addiction; it’s about a smart, once-talented, over-privileged, trust-fund asshole who sees self-destruction as the only way out of the trap of his seemingly cushy existence.
That’s not much of a rah-rah theme for the Cineplex, nor do I think some supposedly “intelligent” critics even grasped it—they were too preoccupied with snarking out “Marky Mark as a lit professor” jokes or treating the film as yet another 12-step cautionary tale. It doesn’t help The Gambler’s commercial potential that the main character, Bennett, is a sardonic jerk who’s not too busy destroying himself at the blackjack and roulette tables every night to verbally slash at everyone else around him (especially his students) with his two-sided, razor-sharp self-loathing.
In fact, part of the film’s appeal is how much you want to punch Bennett in the face. I say it every week, but the more we only think of “movies” as escapism (or maybe uplifting education), we’ve become conditioned to want to “like” our film characters. Bennett is not likable, nor is he particularly admirable, no matter how hard he tries to ennoble his drive toward oblivion in lofty speeches about truth and being yourself and wanting more than complacent hypocrisy from your life.
Bennett’s addiction isn’t gambling, it’s self-destruction—a cleansing suicide by Fortuna. He knows he’s not truly a genius, only an intellectual con man hiding behind hyper-Hemingway-ized “whatever” machismo. (Layered on like plate armor, at times Bennett’s self-loathing gets so thick, so humorously sharp-edged that it feels like a separate character in the film.)
He’s wasted what talent he had and can’t stand himself or the privileged economic and social status that won’t let him truly fall. He lives in abject fear of being forever suspended in mediocrity—the very words “life plan” are banal poison to him.
In both the ’74 and ’14 films, the main character hits up his mother to bail him out of his debts. In the original, mother is an earnest, caring doctor played by Jacqueline Brookes. In the remake, she’s Jessica Lange in full decadent-wealth mode, sliding from tennis courts to bank branch offices with the imperial, serpentine malice of a survivor. But the bigger difference is how Bennett loses his mother’s bail-out money: In the original, Caan’s Axel uses it to carefully place bets he’s sure will pay off, climaxing with him hitting a 3 on an 18 at a glamorous Vegas blackjack table—a stunning miracle of hot luck he crows as a cosmic coronation.
This time around, Wahlberg’s Bennett sets out to deliberately blow every last bit of Mom’s cash at a seedy desert casino, dumping it off 10 grand at a time amidst overweight dead-enders with their oxygen tanks strapped to their motorized chairs. Unlike Axel, Bennett feels no guilt over taking his mother’s money—just the opposite, he wants nothing more than to burn the loan and permanently remove her from his life.
Bennett’s obsessive gambling—or more specifically his reckless shell-game running up of debts and then more debts to pay off those debts—is the only way he sees out of traps like his mother’s money or even his own lazy talent. As fun and cool and sexy-seedy as the trip is, The Gambler is driving toward a singular point: Bennett’s careful maneuvering of himself into a corner neither his family’s money nor his over-educated bellicose charisma can get him out of.
The entire plot of The Gambler is Bennett working very hard to get to the point where, with all his vicious creditors watching, his existence comes down to a single spin of the roulette wheel. In what he sees as the purest method available, he lets the universe decide his worth and his fate, daring it to snuff him out or free him. So is it really gambling if you want to lose?
If all this sounds oppressively, depressingly heavy, it’s not at all. Director Wyatt is mostly along for Wahlberg and Monahan’s ride, but he has a clean, confident visual style that sometimes sports the shiny, chrome-thin decadence of false ‘80s Playboy fantasies, but stops just short of too-showy. Dancing around visual and thematic influences from films like O Lucky man, Naked, Leaving Las Vegas, and Drive, the exposition-free Gambler plays fast and smart, never slowing down to wait for the viewer as it rides a torrent of Monahan’s words; a brilliant supporting cast of character actors; and Wahlberg’s riotous smug petulance.
The Gambler is not a perfect film–it’s never as light or nimble enough to carry all those existential speeches effortlessly, nor is it always cohesive in pace, performance, or purpose. But it’s often hilarious, even self-satirizing in a dark, mean way. (There’s a wickedly funny scene with Richard Schiff in a jewelry store.) Wyatt’s sleek, Brit-pop visions of “secret” LA aside, the film belongs to Monahan’s never-ending rush of words. Each new declarative speech—spit out with easy intensity by Bennett or one of his antagonists—viciously, thematically cannibalizes the one before.
Some of those lacerating soliloquies are ranted by Bennett in his lecture hall as he muses with increasingly energetic venom about Shakespeare and Camus to disinterested students for whom he mostly musters only bored disdain.
Put aside your preconceptions about Wahlberg and you’ll find that while this may not be a great performance, it’s a fantastically entertaining one—a pale, stone-faced vampire-ape in skinny, cool, dark suits and scowling under unruly hair and perfect sunglasses, Bennett’s smarter-than-thou smirk and self-indulgent boy grin weaves beautifully in and out of hammy defiance and childish narcissism.
But the film’s best scenes of verbal daring-do are when Bennett gets his once-rich, white ass chewed up by the film’s supporting cast, especially John Goodman and Michael K. Williams, both of whom have a ball kicking the callow pretty-boy around. As Frank, a high-end loan shark who’s part leg-breaker and part Bad Buddha consciousness expander, Goodman gets the best bits—all bald head and bare-chested bulk, he’s a joy to watch as he dispenses world-weary life wisdom alongside casual, resigned threats of apocalyptic violence.
But Williams’s Neville also expertly subverts The Wire and Boardwalk Empire actor’s usual criminal-menace typecasting: his “non-standard lender” character looks at Bennett with annoyed awe, unsure whether to marvel at the magnificent bravado of Bennett’s stupidity or have the idiot killed. (“Is this some existential situations and shit?” asks Neville with a charmingly dismissive chuckle.)
(Only Brie Larson’s character—the standard wise, alluring ingénue on hand to act as a potential life preserver for the drowning man—gets left out of all the fun. Larson [Short Term 12] is a fantastic actress, but her typical sexist sidelining thanks to Monahan’s throwback He-Man posturing is the biggest strike against the film.)
The Gambler sometimes teeters on the verge of cartoonish grotesquery, but still, those words… all those wonderful, arch, posturing words. Like David Milch’s Deadwood scripts, there are times Monahan’s screenplay seems so in love with its faux-Shakespearean, pseudo-intellectual self that it feels like a ‘70s drum or guitar solo—its monologues are at first technically impressive, then run toward silly before pushing past into something like transcendence through ridiculous excess.
I’m still not sure all those strengths and weaknesses add up to anything genuinely good, or if under all the film’s lofty yapping and “deep thoughts” table gazing, it’s really just a sleazy bag of tarted-up cheap thrills—a bad undergrad paper with a sexy cover page and too much reliance on the thesaurus. But I’m a self-admitted word slut, and even though it may be my own form of self-indulgence, I do love watching The Gambler—or at least listening to it strut by.
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TV film series
The Gambler is a series of five American Western television films starring Kenny Rogers as Brady Hawkes, a fictional old-west gambler. The character was inspired by Rogers' hit single "The Gambler".[1]
There are five movies in the series. The first four were directed by Dick Lowry while the last was directed by Jack Bender. The movies are:
Kenny Rogers as The Gambler (1980)
Kenny Rogers as The Gambler: The Adventure Continues (1983)
Kenny Rogers as The Gambler, Part III: The Legend Continues (1987)
The Gambler Returns: The Luck of the Draw (1991)
Gambler V: Playing for Keeps (1994)
Cast
[edit]
Films Character Kenny Rogers as The Gambler Kenny Rogers as The Gambler: The Adventure Continues Kenny Rogers as The Gambler, Part III: The Legend Continues The Gambler Returns: The Luck of the Draw Gambler V: Playing for Keeps 1980 1983 1987 1991 1994 Brady Hawkes Kenny Rogers Billy Montana Bruce Boxleitner Bruce Boxleitner Jeremiah Hawkes Ronnie Scribner Charles Fields Kris Kamm Arthur Stobridge Harold Gould Jennie Reed Lee Purcell Eliza Christine Belford Rufe Bennett Clu Gulager Doc Palmer Lance LeGault Kate Muldoon Linda Evans Linda Evans Masket Johnny Crawford Carson David Hedison Pvt. Bob Butler Marc Alaimo Sen. Henry Colton Charles Durning Chief Sitting Bull George American Horse Bat Masterson Gene Barry Kwai Chang Caine David Carradine Lucas McCain Chuck Connors Mark McCain Johnny Crawford The Westerner Brian Keith Bart Maverick Jack Kelly Marshal Wyatt Earp Hugh O'Brian Cheyenne Clint Walker Butch Cassidy Scott Paulin Sundance Kid Brett Cullen Etta Place Mariska Hargitay
Films
[edit]
Kenny Rogers as The Gambler (1980)
[edit]
Kenny Rogers as The Gambler debuted on CBS on April 8, 1980.[2][3] It was a ratings and critical success that has spawned four sequels.[3] The show won a Best Edited Television Special Eddie Award and garnered two Emmy Award nominations (for cinematography and editing of a limited series).[4]
Kenny Rogers stars as Brady Hawkes, the titular gambler, who embarks on a journey to meet Jeremiah (Ronnie Scribner), the young son he never knew after Jeremiah sends him a letter. Along the way, Brady meets Billy Montana (Bruce Boxleitner) and the two become friends. Billy (while trying to help Brady in his quest) fancies himself as a professional poker player on his own. Although Billy makes mistakes along the way (some of these include trying to find a way to cheat or do some smooth talking), Brady makes sure that he stays on good behavior during a train ride to Yuma. The duo help Jennie Reed (Lee Purcell), a prostitute who has trouble with a train baron. At the end, Brady's son's stepfather (Clu Gulager) is confronted.
Kenny Rogers as The Gambler: The Adventure Continues (1983)
[edit]
Kenny Rogers again stars as Brady Hawkes in the miniseries Kenny Rogers as The Gambler: The Adventure Continues which premiered November 28 and 29, 1983 on CBS.[2] The show was an even bigger ratings success than the first and was nominated for two Emmy Awards (sound editing and sound mixing of a limited series).[5]
Billy Montana, Brady, and his son Jeremiah (now played by Charles Fields) are traveling to a gambling event in San Francisco when they encounter the vicious McCourt gang. The McCourt gang force the train to stop and they take Jeremiah hostage and demand a $1 million ransom. Brady and Billy are determined to get Jeremiah back as well as the $1 million ransom which belonged to the train boss. Brady and Billy find help in their mission and meet a female bounty hunter Kate Muldoon played by Linda Evans. Kate is the fastest female gun in the west. They form a posse together in a race to save Jeremiah.
Cast
[edit]
Linda Evans as Kate Muldoon
Johnny Crawford as Pete Masket
Charles Fields as Jeremiah
David Hedison as Carson
Bob Hoy as Juno
Brion James as Reece
Paul Koslo as Holt
Cameron Mitchell as Col. Greeley
Mitchell Ryan as Charlie McCourt
Gregory Sierra as Silvera
Ken Swofford as Wichita Pike
Macon McCalman as Sheriff Rawlins
Harold Gould as Stowbridge
Lee Paul as Pettibone
Kenny Rogers as The Gambler, Part III: The Legend Continues (1987)
[edit]
Kenny Rogers as The Gambler, Part III: The Legend Continues was broadcast November 22, 1987 on CBS.[6]
In this installment, Brady Hawkes and Billy Montana help protect some Sioux Indians from the government and some cattle thieves.[7]
Cast
[edit]
George Kennedy as Gen. Nelson Miles
Linda Gray as Mary Collins
Marc Alaimo as Pvt. Bob Butler
Jeff Allin as Homesteader
George American Horse as Chief Sitting Bull
Michael Berryman as Cpl. Catlett
Sam Boxleitner as Boy with Hat
Jeffrey Alan Chandler as Plow Salesman
Melanie Chartoff as Deborah
Richard Chaves as Iron Dog
Matt Clark as Sgt. Grinder
Charles Durning as Sen. Henry Colton
Dean Stockwell as James McLaughlin
Jeffrey Jones as Buffalo Bill Cody
The Gambler Returns: The Luck of the Draw (1991)
[edit]
The Gambler Returns: The Luck of the Draw is a 1991 television film starring Kenny Rogers as Brady Hawkes and Reba McEntire as Burgundy Jones.[8] Rogers reprises Hawkes in the fourth installment of the series. The two-part film originally aired November 3 and 4, 1991 on NBC, making it the only one of the five "Gambler" TV movies which did not air on CBS. It was nominated for a Costume Design Emmy.[9]
Plot
[edit]
It's 1906 and professional gambling will be outlawed in just three weeks. Therefore, Burgundy Jones (McEntire) has just that long to get Brady Hawkes safely to San Francisco for the last poker tournament, with a very special mystery player. This is made more difficult, as Hawkes is still smarting after a hard-fought loss to another professional poker player in England, who will also be at the tournament.
Production
[edit]
The film features Rogers' character running across a galaxy of old TV western stars played by the original actors, including Gene Barry as Bat Masterson, Hugh O'Brian as Wyatt Earp, Jack Kelly as Bart Maverick, Clint Walker as Cheyenne Bodie, David Carradine as Kung Fu's Caine, Chuck Connors and Johnny Crawford from The Rifleman, Brian Keith as The Westerner, James Drury and Doug McClure from The Virginian (Drury and McClure play thinly disguised different characters, Jim and Doug, due to rights issues for Owen Wister's character), and Paul Brinegar from Rawhide.
The characters are attending a poker game said to be in honor of "the late Mr. Paladin" from Have Gun — Will Travel. (The actor who played him, Richard Boone, had died in 1981.) The game was played at the hotel at which Paladin lived. The game's dealer is "Hey Girl", Paladin's friend (Lisa Lu). As each veteran character appears, a few bars from his original series' theme momentarily plays in the background.
The Gambler Returns: The Luck of the Draw was directed by Dick Lowry.
Cast
[edit]
Kenny Rogers as Brady Hawkes
Rick Rossovich as Ethan Cassidy
Reba McEntire as Burgundy Jones
In alphabetical order:
Claude Akins as Theodore Roosevelt
Dion Anderson as Fight Promoter
Gene Barry as Bat Masterson
Bruce Boxleitner as Billy Montana
Paul Brinegar as Cookie
Kent Broadhurst as Sailor Johnson
Jere Burns as Cade Dalton
David Carradine as Kwai Chang Caine
Chuck Connors as Lucas McCain
Johnny Crawford as Mark McCain
Juliana Donald as Ruby Roy Bean (billed as Juli Donald)
James Drury as Jim
Linda Evans as Kate Muldoon
Brian Keith as The Westerner
Jack Kelly as Bart Maverick
Patrick Macnee as Sir Colin
Doug McClure as Doug
Hugh O'Brian as Wyatt Earp
Park Overall as Melody O'Rourke
Christopher Rich as Lute Cantrell
Mickey Rooney as The Director (based upon D.W. Griffith)
Brad Sullivan as Judge Roy Bean (recast due to Edgar Buchanan's death)
Dub Taylor as The Westerner's Friend
Clint Walker as Cheyenne Bodie
Gambler V: Playing for Keeps (1994)
[edit]
Gambler V: Playing for Keeps is the fifth installment of The Gambler series and the first not directed by Dick Lowry, with Jack Bender taking the helm. The two-part movie premiered on October 2 and October 4, 1994 on CBS.
Plot
[edit]
Brady Hawkes' son, Jeremiah (with Kris Kamm as the third actor in the role) gets involved with outlaws Butch Cassidy (Scott Paulin) and the Sundance Kid (Brett Cullen).[10] Brady tries to save him before he winds up in jail or dead.
Cast
[edit]
Scott Paulin as Butch Cassidy
Brett Cullen as The Sundance Kid
Mariska Hargitay as Etta Place
Kris Kamm as Jeremiah Hawkes
Stephen Bridgewater as Flatnose Curry
Richard Riehle as Frank Dimaio
Ned Vaughn as Ford Hayes
Martin Kove as Black Jack
Dixie Carter as Lillie Langtry
Loni Anderson as Fanny Porter
Geoffrey Lewis as Lynch
Unrealized plans
[edit]
On March 15, 2011, Kenny Rogers told Jimmy Fallon on his television show, Late Night with Jimmy Fallon, that he was asked if he would want to be in another Gambler movie. He began by saying that he had a bad knee and thought it would be hard for him, but continued and said that the first scene in the movie would be a shootout. Supposedly, he would get shot in the shoulder and knee to cover his physical disabilities.[11] However, in the years that followed Rogers announced his retirement from show business and stated that his 2016 tour would be his last and after this he would be spending his time with family. Rogers later died on March 20, 2020.[12]
In other media
[edit]
Books
[edit]
Pirtle, Caleb III; Dobbs, Frank Q. (1996). Jokers Are Wild. Kenny Rogers' The Gambler. Vol. 1. Penguin Group. ISBN 978-1-57297-053-3.
Pirtle, Caleb III; Dobbs, Frank Q. (1996). Dead Man's Hand. Kenny Rogers' The Gambler. Vol. 2. Boulevard Books. ISBN 978-1-57297-093-9.
Pirtle, Caleb III; Dobbs, Frank Q. (1998). Dying Man's Bluff. Kenny Rogers' The Gambler. Berkley Publishing Group. ISBN 978-1-57297-181-3.
Slot machine
[edit]
A video slot machine based on The Gambler can be found in most Las Vegas casinos. It was manufactured by now-defunct International Game Technology.[13]
References
[edit]
IMDB
Kenny Rogers as The Gambler (1980) at IMDb
Kenny Rogers as The Gambler: The Adventure Continues (1983) at IMDb
Kenny Rogers as The Gambler, Part III: The Legend Continues (1987) at IMDb
The Gambler Returns: The Luck of the Draw (1991) at IMDb
Gambler V: Playing for Keeps (1994) at IMDb
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https://mediamikes.com/2022/02/top-20-best-movies-about-gambling/
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Top 20 Best Movies About Gambling
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2022-02-03T19:32:52+00:00
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Do you have a love for movies and gambling? If so, we have you covered. Check out this list of the best movies about gambling.
|
en
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MediaMikes
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https://mediamikes.com/2022/02/top-20-best-movies-about-gambling/
|
by
2053likes
2137followers
It’s a gamble to go to the movies. Every time you buy a movie ticket or watch a movie on Netflix from your couch, you’re taking a chance. Will the investment be worthwhile? Will the two-hour time investment be worthwhile too? Of course, when choosing movies to watch, there is always a risk, but there are ways to reduce that risk, such as reading a list of the top movies in the gambling genre.
Uncut Gems – Uncut Gems‘ greatness lies in the main character, Howard’s ability to draw us in and convince us that, yes, he might be able to carry off this mad escapade he’s created — yeah, maybe this is how he wins.
The Hustler – Fast Eddie Felson’s early years as a notorious poolroom hustler are chronicled in The Hustler. Throughout the film, audiences will see Eddie compete against a billiards champion, fall in love with a woman who carries a lot of emotional baggage, and meet an experienced gambler who wants to mentor Eddie.
Ocean’s Eleven – Okay, we all know this isn’t a gambling film. But, c’mon, it has Vegas, poker, and slot machines in it. Plus, robbing three casinos is a bit of a risk.
Casino – Casino is one of the lesser-known gangster epic movies. Despite this, because it is set in Las Vegas, it is arguably the most well-known of all gambling films. It’s not for the faint of heart, and it can be rather brutal at times.
Croupier – An aspiring writer is recruited as a croupier at a casino, where he discovers that his experiences as a croupier would make a fantastic novel.
Rounders – While managing his relationship with his fiancée and his responsibilities to law school, a young, rehabilitated gambler must return to playing high-stakes poker to help a friend pay off loan sharks.
The Gambler – The game of blackjack has been the subject of numerous casino films, and The Gambler is no exception. Mark Wahlberg plays a literature professor who enjoys playing blackjack as a recreational activity.
21 – It can be challenging to find a gambling film full of suspense, thrills, and humor. All of this and more can be found in Robert Luketic’s classic film 21.
Guns, Girls & Gambling – Take Lock, Stock, and Two Smoking Barrels and set it in Las Vegas, and you’ve got Guns, Girls, and Gambling on your hands.
The Cincinnati Kid – At the time, it was thought to be a rip-off of The Hustler, but this picture, which focuses on poker rather than pool hustling, holds up just as well, if not better, than that one.
Maverick – Consider that Maverick was nominated for an Academy Award in 1994 if you don’t believe it’s a fine parody. Mel Gibson can sell any joke, firefight, or card game.
The Sting – The Sting – which includes tonnes of poker and a fraudulent off-track betting operation – never stops dragging you into all of its traps because it is so full of twists and turns at every unexpected moment.
Ocean’s Thirteen – After casino owner Willy Bank double-crosses one of the original eleven, Danny Ocean gathers the gang for a third robbery.
High Roller – The story of Stuey Ungar, a poker legend. Ungar, a gambler since the age of ten, amassed a fortune through card games.
Owning Mahowny – Owning Mahowny, one of the best gambling movies of all time, stars Philip Seymour Hoffman as a real-life Canadian banker who went too far.
The Hangover – Although the film isn’t about gambling, various gambling sequences are sprinkled throughout it. With a cast of well-known actors, The Hangover isn’t too shabby.
Bugsy – This film chronicles the story of criminal Bugsy Siegel and his idea of constructing a gambling oasis in the Nevada desert, which would ultimately become Las Vegas.
Bob Le Flambuer – Bob le Flambuer is a film that depicts what occurs when someone is forced to put everything on the line. When his fortunes turn sour, and his excellent luck fades, the people who once loved him the most decide to desert him.
The Color of Money – Paul Newman earned his lone Academy Award for The Color of Money, in which he reprised his role as Fast Eddie Felson from 1961’s The Hustler. The sequel is a film about an aging pool shark who finds himself at a fork in the path.
Hard Eight – Anderson’s debut film, about an experienced card player and a lonely orphan, is a gripping investigation of the guys who spend their lives in Vegas, assuming you enjoy your casino flicks with a touch of sadness.
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The 30 Best Gambling Movies and Poker Films of All Time
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Take a look at Gambling Zone’s in-depth list of the 30 best gambling movies and poker films of all time
|
en
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/img/fav.ico
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Gambling Zone
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https://www.gamblingzone.com/uk/the-zone/casino/gambling-movies-and-poker-films/
|
Gambling and cinema go hand in hand. The act of turning over a card or the spin of a roulette wheel lend themselves particularly well to dramatic mediums, with some of cinema’s most iconic scenes taking place inside casinos. In this article, we are going to take a look at 30 of the most popular casino movies of all time.
Casino (1995)
Casino is one of Martin Scorsese’s most popular movies. Coming in the middle of the 1990s, the film has all of the trademarks of one of his greats. Scorsese regular Joe Pesci and Robert De Niro play two gangsters, with De Niro[‘s Sam Rothstein overseeing the casino. While the film may be called Casino, this movie is a character piece more than anything, and, like the rest of Scorsese’s films, a deep dive into the underbelly of America.
Here is the Gambling Zone list of the best online casino sites.
Maverick (1994)
When you think of Mel Gibson, comedy might not be the first thing that springs to mind. However, he is in fine comic form in Richard Donner’s Maverick. This Western comedy focuses on Gibson’s character, Bret Maverick, as he heads around the Wild West attempting to get the money together for a poker game.
Casino Royale (2006)
Daniel Craig is widely considered one of the greatest James Bonds of all time, and he made an instant impact in his 2006 debut, Casino Royale. After a poor run of films with Pierce Brosnan in the lead role, Casino Royale took Bond back to its roots, and the casino scene between Craig’s Bond and Mads Mikkelsen’s Le Chiefre is one of the franchise’s most iconic encounters.
Ocean’s Eleven (2001)
Remakes are always a bit of a gamble, but the Ocean’s Eleven remake was a roaring success. George Clooney leads a gang of star-studded criminals as they attempt to rob a Vegas Casino. This inspired two sequels and an all-female-led spin-off and is one of the best casino movies of the 21st Century.
The Gambler (1974) Movie
The Gambler (1974)
James Caan is one of the best actors of the 1970s, so it was only fitting he starred in a movie about gambling, one of the most genres of the decade. In the film, he plays Axel Freed, a man desperate to get himself out of the gambling debt he has built up with criminals.
The Hustler (1961)
Paul Newman is one of the coolest men to have ever graced the silver screen, and The Hustler is one of his most iconic outings. In the film, Newman plays Fast Eddie, a pool hustler who wants to make his way to the very top of high-wagering pool leagues. The film received rave reviews and picked up several Academy Awards.
21 (2008)
A group of Maths wizzes bringing down a casino is a classic set-up, but it is executed well in the 2008 hit 21. The film stars Jim Sturgess, Kate Bosworth and Kevin Spacey and is based on a group of Maths students from MIT that become experts in card counting and head to Vegas to make their millions.
Rain Man (1988)
Rain Man is probably the most successful movie on this list. The 1998 classic was huge at the box office, grossing around $400m and being the highest-grossing movie of the year. It also received great critical success, winning Best Picture and three other Academy Awards. It tells the story of two estranged brothers who take a trip to Vegas to attempt to win big at the casinos.
The Sting (1973)
One of the most iconic gambling movies of all time, The Sting is one of two titles on this list to have won Best Picture. Paul Newman and Robert Redford are excellent in the lead role, with George Roy Hill’s stylish direction helping immerse players into the world of high-stakes gambling.
Dark City (1950) Movie
Dark City (1950)
Dark City is a classic poker movie starring Charlton Heston in his feature debut. The film tells the story of some undercover poker games, combining sleazy noir settings with a sharp script and some excellent performances from Heston, Lizabeth Scott, and others.
Rounders (1998)
If you are looking for a great film about poker, then Rounders should be your first stop. Matt Damon, fresh off his success with Good Will Hunting, plays a professional poker play that pits his wits against criminals and other pros in this cult classic that is essential viewing for gamblers.
Atlantic City (1980)
Other than Las Vegas, Atlantic City might be the most iconic casino city in the US. This is considered one of the best movies with gambling ever produced, detailing a romance in the city, with Burt Lancaster and Susan Sarandon in the lead roles. Like all the best gambling movies, there is plenty of crime and drama thrown in for a good mix. The film landed five Academy Award nominations.
The Big Sleep (1946)
You do not get much more old Hollywood than Humphrey Bogart playing a private eye that helps a beautiful women clear her gambling debts. This is one of the oldest films on this list, but it has remained a popular choice among gamblers for a reason, and its quality still persists.
The Card Counter (2021)
Paul Schrader is one of cinema’s darkest and most interesting directors, and The Card Counter is one of his more challenging recent works. Oscar Issac plays the titular card counter, with the film using poker and casinos to explore existentially-driven themes like grief and faith. Paul Schrader is the man that wrote Taxi Driver, so that should give you an idea of what to expect from The Card Counter.
Croupier (1998) Movie
Croupier (1998)
Croupier was a sleeper hit upon its first release, but it quickly gained a word-of-mouth reputation and helped launch the career of Clive Owen. In the movie, Owen plays a struggling writer who becomes a Croupier to make ends meet. He soon finds himself caught up in the world of money, gambling, and casinos. It is one of the more meditative movies about gambling, with critics praising its atmosphere and characterisation.
Bugsy (1991)
If you were asked to list key elements from gambling films, you would probably say mobsters, casinos, sordid romance, corruption, and a little sprinkle of violence. Bugsy has all these, documenting the real-life romance between Ben “Bugsy” Siegl and Virginia Hill. Warren Beatty and Annette Betting excel in the lead roles, while Harvey Kietel and Ben Kingsley help make up a star-studded cast.
California Split (1974)
California Split is a bit of a cult classic among gambling fans. It is a film about poker, boxing, horse racing, and just about everything a gambling man could bet on. The film received warm praise from critics, with people praising Joseph Walsh’s script, saying it provided a fascinating insight into gambling and the American Dream.
Eight Men Out (1988)
Eight Men Out is a classic movie about gambling that tells the story of the Major League Baseball Black Sox Scandal. The scandal saw eight members of the Chicago White Sox team conspire with gamblers to throw the World Series in 1919. This was seen as a dark day in the history of the MLB, and the film does an excellent job of depicting it.
Hard Eight (1996)
Paul Thomas Anderson is widely considered one of the greatest film directors in the world. His first movie, Hard Eight, still holds up when compared to some of his later classics. The film tells the story of a gambling veteran and a lost chancer in Las Vegas. Like all of Anderson’s films, it’s a tragic story masterfully told thanks to excellent direction and some brilliant performances.
Let It Ride (1989) Movie
Let It Ride (1989)
Gambling movies always tend to have a darker side, but that is not the case with 1989’s Let it Ride. The film focuses on a typically unlucky gambler who has an entire day where he wins constantly. Unfortunately, the film was panned by critics and was a huge box office flop, taking just $4m against a $19m budget. Perhaps betting on an upbeat gambling movie was not the best move.
Lock, Stock, and Two Smoking Barrels (1998)
Guy Ritchie’s London-set crime caper Lock, Stock, and Two Smoking Barrels is an absolute classic. The film follows a gang of young men around London as they attempt to pay back debts accumulated by one of them in a poker game against a notorious London gangster.
Lucky You (2007)
A hugely unseen movie about poker is Lucky You from 2007. The film stars Eric Bana and Drew Barrymore and tells the story of a hot-shot poker player who needs to earn his place in the World Series. The film bombed at the box office and was poorly received by critics.
Mississippi Grind (2015)
Mississippi Grind tells the story of Ben Mendelsohn’s Gerry, a down-and-out estate agent who goes on a gambling streak with Ryan Reynold’s Curtis. The film is steeped in Southern atmosphere, bringing the spirit of casinos and gambling to life, with Anna Boden and Ryan Fleck co-directing.
Molly’s Game (2017)
Academy Award-winning writer Aaron Sorkin sat in the director’s chair for the first time to bring the entrepreneur Molly Bloom’s story to life in Molly’s Game. Jennifer Chastain takes on the titular role, with the film telling the story of Bloom’s underground poker empire featuring celebrities, athletes, and the mob.
Owning Mahowny (2003)
The late great Phillip Seymour Hoffman is at his best in Richard Kwietniowski’s Owning Mahowny. The film tells the story of a bank employee who uses his bank’s funds to feed a gambling addiction. It is an arresting tale of gambling addiction and was well-received by critics, despite going largely unseen by audiences.
The Color of Money (1986) Movie
The Color of Money (1986)
Reprising a character 25 years later can always be a little bit of a gamble, but it paid off big time for Paul Newman in The Color of Money. The movie brings his iconic character from The Hustler, “Fast Eddie” back to the screen to mentor Tom Cruise’s Vincent in the art of hustling. Under the capable directorship of Martin Scorses, the film scored Paul Newman his first ever Academy Award for Best Actor.
The Cooler (2003)
William H Macy is in fine form in the Cooler. He plays ‘Bernie’ a guy whose luck is so bad that casinos pay him to sit at tables and bring everyone else’s luck down. While it is not exactly a film that is in any way realistic, it still provides plenty of entertainment, and it even earned Alec Baldwin his first-ever Academy Award nomination.
Uncut Gems (2019)
Adam Sandler gave a career-best performance in the 2019 hit Uncut Gems. The movie focuses on a jeweller who has a bad gambling problem who needs to find a precious gem to pay off his debts. The film is an anxiety-riddled rollercoaster masterfully directed by the Safdie Brothers and boasting fantastic performances from Adam Sandler, LaKeith Stanfield, and Julia Fox.
Vegas Vacation (1997)
The Griswolds are one of America’s funniest families, and while Vegas Vacation is considered one of the crew’s weaker outings, there are still plenty of laughs to be had. Chevy Chase is on fire in the lead role, and fans of gambling and casinos will find plenty of amusement in his interactions with dealers and casino staff.
Wake in Fright (1971)
Wake in Fright is one of the most underappreciated gambling movies of all time. The Australian movie has become a cult classic since its release in 1971. The film tells the story of a teacher who finds himself stranded in the Australian outback, surrounded by questionable characters and slowly descending further into moral degradation. There are several gambling scenes in the movie, which, to be honest, is well worth hunting out, even if you are not a fan of gambling.
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How True was the Story Behind the Hit Blackjack Movie 21? Features Film Threat
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[
"Chris Gore",
"Film Threat Staff"
] |
2021-01-30T10:10:18-08:00
|
Blackjack, also known as 21, is the theme of the 2008 hit movie ‘21’. It’s loosely based on the novel, ‘Bringing Down the House’ by Ben Mezrich, a true story about the activities of The MIT Blackjack Team during the 1980s. But how much of the movie is true to life? The Movie vs The
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en
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https://filmthreat.com/wp-content/uploads/2019/12/favicon.ico
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Film Threat
|
https://filmthreat.com/features/how-true-was-the-story-behind-the-hit-blackjack-movie-21/
|
Blackjack, also known as 21, is the theme of the 2008 hit movie ‘21’. It’s loosely based on the novel, ‘Bringing Down the House’ by Ben Mezrich, a true story about the activities of The MIT Blackjack Team during the 1980s. But how much of the movie is true to life?
The Movie vs The Truth
The main difference between the true story and the movie is the historical accuracies, like the use of mobile phones which didn’t exist in the early ’80s. Another obvious discrepancy shows Blackjack being played at the Red Rock and Planet Hollywood Casinos in Las Vegas but they didn’t open until the mid-2000s. If mobile phones did exist at the time, the MIT team would likely be gambling at online sites like those found at sister casinos.
Forming the Team
In both real life and the movie, the players successfully manage to pull off a mass scale card-counting scam, despite none of them being experienced gamblers or from a criminal background. In the movie, they are all highly talented students with exceptional maths brains from one of the top universities in the USA and are tutored by a card-counting mastermind.
In real life, the team was formed by three individuals, with the brains behind the initiative being Bill Kaplan, a Harvard Business School Graduate. Having already recruited and trained a similar team in Vegas, he formed the MIT Blackjack Team employing the same business principles and practices as before. Unlike the movie, students were recruited from sources other than the Massachusetts Institute of Technology (MIT). Kaplan himself was from Harvard as well as Jane Willis the real-life Jill Taylor in the movie.
One of the first to join Kaplan was JP Massar, whose interest in gambling led him to attend a university short course entitled ‘How to Gamble If You Must’. His chance meeting with Kaplan was timeous and together they managed the team throughout the 1980s. The third person, John Chang, an MIT Electrical Engineering graduate joined them in late 1982. Chang remains involved in counting cards but has since been blacklisted in most casinos.
In the movie, exceptionally bright and talented students, especially in the field of Mathematics are observed by Micky Rosa, a professor of the university, who recruits and teaches them the art of card counting and other winning strategies. He puts them through a rigorous round of training before introducing them to the Blackjack tables but doesn’t play himself, rather observing and training his protegees whilst making a tidy profit from their winnings.
The Main Characters
In the movie, the main character, Ben Campbell is a Maths genius with phenomenal numbers skills. His ambition to study at Harvard is scuppered due to lack of funds, which makes him an easy recruit, and very soon he is raking in the money. His initial intention to make just enough to fund his studies is overtaken by his success, the excitement of the game, and his disagreement with Micky Rosa.
His real-life counterpart, Jeff Ma, was one of the youngest MIT Blackjack Team recruits and very soon swapped his intentions to attend Harvard for the Blackjack table, which he found more rewarding and exciting. The movie has been criticized for its casting of Ben as Jeff Ma since Ma is of Chinese heritage and bears no resemblance to Ben.
In the movie, Ben’s father passed away, but in fact, Jeff’s father is very much alive and was a guest at the 2008 movie premiere. The money Ben’s mother offered him towards his studies in the movie didn’t happen in real life as Jeff came from a wealthy family and could have afforded to study.
The Movie Romance
Jill Taylor, another of Professor Micky Rosa’s recruits, persuades a reluctant Ben to join the team and an on-screen romance develops. However, Jill Taylor’s real-life counterpart had no romantic connection to Jeff Ma. She and was simply brought into the team at the same time as her boyfriend and nothing ever occurred between the two.
Ben’s Frustration and Outburst
Ben’s constant weekend absences in Vegas jeopardizes his relationship with his two best friends resulting in them kicking him out of their project group. Highly upset and frustrated, he haphazardly loses $200,000 at the casino. In truth, John Chang declared that this would never happen as any member of the MIT Team would be too disciplined and controlled to do anything like this.
Casino Security
In the movie, Cole Williams is the Casino Security Chief who is tasked with watching the players, and, in particular Ben, after it becomes obvious that he isn’t playing a straight game. Ben gets beaten up by Williams and ordered to stay away from the Casino. In reality, this would never happen as major casinos typically use professional security companies such as the real-life Griffin Investigations. Their employee, Andy Andersen, was instrumental in bringing down the MIT Team after following and observing them over several years.
|
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6232
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dbpedia
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2
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https://www.commonsensemedia.org/movie-reviews/the-gambler
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en
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The Gambler Movie Review
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[
""
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[
"Jeffrey M. Anderson"
] |
2014-12-17T00:00:00
|
Uneven remake makes gambling look dangerous, alluring. Read Common Sense Media's The Gambler review, age rating, and parents guide.
|
en
|
/themes/custom/common_sense/images/favicons/favicon-16x16.png
|
Common Sense Media
|
https://www.commonsensemedia.org/movie-reviews/the-gambler
|
THE GAMBLER is yet another Hollywood remake, and, as usual, it's not as good as the original. In this case, that would be the superior The Gambler (1974), which was directed by Karel Reisz, written by James Toback, and starred James Caan. That movie captured a moment, while the remake merely copies one. Still, taking the new movie all by itself, it does have a certain kind of resonance. And, like the original, it also has something to say about the human condition.
Wahlberg is mesmerizing in the lead role, reckless and assured but helplessly drawn to underworld life -- and at the same time confronting his students with harsh realities about writing. Writer William Monahan (The Departed) crafts a script full of stylized dialogue, giving actors like John Goodman snappy stuff to chew on. And director Rupert Wyatt plunges his characters into a slick-sleazy vision of a gambler's world. In a way, it's more alluring and less profound than the original, but enough of a cautionary tale that it's still worth a look.
|
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6232
|
dbpedia
|
2
| 63
|
https://great.com/gambling/9-more-movies-about-gambling-you-need-to-see/
|
en
|
9 Movies About Gambling You Need to See (Part 2)
|
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[
"lee"
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2021-08-11T10:17:00+00:00
|
We're back for round two of some great films related to the casino life. Take some time between online casino visits and check out a few!
|
en
|
Great.com
|
https://great.com/gambling/9-more-movies-about-gambling-you-need-to-see/
|
We’re back for round two of some great films related to the casino life. Take some time between online casino visits and check out a few!
After a few hours of hitting the slots or tables at your favorite online casino, kick back and watch a good movie about casino life. There are plenty of fantastic films about gambling, so check out these 10 movies about gambling wins and losses, both real and fictional.
1. Mississippi Grind
Getting caught up in the risky thrill of betting is easy for many people, but getting out can be hard. It can help if you have a pal, though, which is the basis of Mississippi Grind. Gerry, an avid gambler, owes a lot of money to a local loan shark. He meets a young poker player, Curtis, who eagerly agrees to go on Gerry’s gambling adventure to rack up money to pay off the sharks. The pair travel around the south, playing poker, betting on horses, and making the rounds of any table or machine they find.
Throughout the adventure, Gerry makes all sorts of questionable decisions that get him further into trouble and jeopardize his growing friendship with Curtis. And a major part of this movie is watching these two characters play off one another as Gerry tries to regain control of his life. Plus, it’s filled with great dramatic arcs and strong acting from both Ryan Reynolds and Ben Mendelsohn, making it a must-see film you may have missed.
2. The Gambler (1974)
This ‘70s classic stars James Caan as Axel Freed, a professor with a pretty serious gambling addiction. He borrows money from everyone in his life, including his girlfriend and his mother, and when he’s cut off from them, he borrows from mob loan sharks. But when the mob comes to retrieve the money they gave him, Axel must find a way to pay them off and give back the money he took from his family to repair his relationships. And his solution is to bet just a bit more and win big to come out on top.
Sound familiar? That’s because this film is the predecessor to the 2014 Mark Wahlberg feature of the same name. What sets this film apart from the 2014 version is James Caan’s impressive performance as Axel and his ability to convey the very real challenges of someone with gambling addiction. What’s more, the writer, James Toback, based the script off of his own challenges, making the story feel that much more real.
3. Let It Ride
A lot of the movies on this list are hard-hitting dramas, but thankfully you can have a good laugh with this one. Let It Ride is a silly celebration of the best day any player could ever have. After getting a tip about a horse race, Jay Trotter bets on a sure-to-win pony and wins. Then things start to just keep going right for him, and he bets his winnings again and again.
It’s a fun romp starring Richard Dreyfuss that explores a common dream of being so incredibly lucky, but it also has a few personal challenges regarding Jay’s marriage that balance out the fantastical nature of his luck. Nearly anyone can identify with the lead character, who loves to gamble but can’t seem to win big, and his giddy excitement for being able to win big over and over and over again.
4. Atlantic City
In this film, Sally is a waitress who moves to Atlantic City to become a blackjack dealer and eventually be one in Monte Carlo. Her neighbors are Lou, a former gangster and contemporary of Bugsy Siegel, and the woman in his care, Grace, who was once married to the mobster Lou served. The three all become entangled in a lethal mess when Sally’s ex comes to town with drugs he needs to peddle and the dangerous people he stole the drugs from.
Though not about gambling specifically, this film explores the seedy underground of AC that developed during the city’s rapid casino expansion and increase in vices. It’s a critically acclaimed drama starring Susan Sarandon, which provides a woman’s perspective on this world that isn’t often the focus of a film like this.
5. Rounders
Starring Matt Damon, Rounders follows the story of Mike McDermott, a young, very skilled poker player who had racked up huge wins while playing at underground high-stakes poker tables at local clubs. But after losing all his money to club owner Teddy KGB, Mike gets out of the game. That is, until his old gambling pal Worm ropes him back in to win the money Worm needs to pay off his debt to KGB. Being the good friend he is, Mike agrees, putting himself in danger of losing the love of his life and his future.
You get to see stellar plays and bluffing strategies in action while Mike plays against solid players, including Teddy KGB during the final showdown. It’s also a fascinating look into the underground poker world and the struggles of balancing the benefits of being so skilled at the game and the risk of losing it all with one bad hand. This ‘90s film also features many other amazing actors, including John Malkovich, Edward Norton, John Tuturo, and others, making it a must-watch if you’re a movie buff.
6. Uncut Gems
Uncut Gems tells the story of Howard Ratner, a professional jeweler with a gambling addiction who just doesn’t know when to stop. When Howard smuggles in a rare and valuable gem, he has a chance to turn his life around. However, he loans it out to basketball player Kevin Garnett as a good luck charm and gets Garnett’s championship ring as collateral. He pawns off the ring for a pretty penny and then uses that money to bet on Garnett’s game that night. But when his sports bet doesn’t go the way he thought, Howard’s in it even deeper.
This film is known for being a wild ride of bad choices, tense confrontations, and amazing acting from Adam Sandler as Howard, a role that stands out from many of his others in a good way.
7. The Cincinnati Kid
This classic 1965 film tells the story of a Depression-era poker player named Eric “The Kid” Stoner (played by Steve McQueen) who seeks to be the best player in the world. But, in order to do that, he has to beat the current best player in the world. We’re treated to edge-of-seat intense poker playing, betrayals, and the poker community politics of New Orleans.
While some critics thought this film was a lesser version of Paul Newman’s The Hustler, it actually seems to hold up a bit better given it’s about poker, which is very popular these days.
8. Croupier
In this 1998 film, Clive Owen plays a writer down on his luck and out of story ideas. He becomes a croupier, or gaming dealer, at a London casino and gets sucked into the world. He even catches himself in a bit of a heist to help out a new lady love, too. In addition to this turn, he uses his new job at the tables to write his novel about a croupier who revels in seeing players risk it all and lose. Soon, the line between creating a character and turning into the character is blurred.
9. Owning Mahowny
Based on a true story, Owning Mahowny follows a fraudulent scandal of one man who tries so desperately to fund his gambling habit that he risked his career and skimmed from the bank accounts of many Canadians. It stars the late actor Philip Seymour Hoffman as Dan Mahowny, who earns promotion after promotion as a bank manager in Canada and gets access to large amounts of money via the bank’s accounts. And while other films may focus on the hustle of finding more money to gamble, Owning Mahowny focuses more on exploring how Dan’s addiction impacts his choices.
|
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6232
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0
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https://www.msn.com/en-gb/entertainment/movies/movies-that-deal-with-gambling/ss-BB1kvylg
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en
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MSN
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https://assets.msn.com/statics/icons/Microsoft_16_SVG.ico
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https://assets.msn.com/statics/icons/Microsoft_16_SVG.ico
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https://assets.msn.com/statics/icons/Microsoft_16_SVG.ico
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6232
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dbpedia
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2
| 75
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https://pokerterms.com/the-gambler.html
|
en
|
Title of Various Poker
|
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[
"the gambler",
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The Gambler may refer to a quintessential poker song by Kenny Rogers, a movie starring James Caan, or a novel by Fyodor Dostoevsky.
| null |
The Gambler
word type: media
A 1978 song by Kenny Rogers that includes some basic truths about poker.
A 1974 movie starring James Caan as Axel Freed, an English professor in New York City who is a degenerate gambler.
An 1867 novel by Fyodor Dostoevsky that was inspired by the author's addiction to roulette.
The Film
The film is said to be loosely based on the Dostoevsky novel, but it also represents a lifelong fixation with degenerate gambling that was explored in many of screenwriter James Toback's scripts, but nowhere so thoroughly as this one.
In this clip, Axel Freed starts on a heater in Las Vegas:
The Kenny Rogers Song
|
|||||||
9048
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dbpedia
|
2
| 7
|
https://www.berkeleyside.org/2023/06/20/david-murray-back-room
|
en
|
Jazz musician David Murray returns to Berkeley, where he first played sax at church in 1965
|
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[
"Andrew Gilbert"
] |
2023-06-20T00:00:00
|
Murray’s concert Friday at the Back Room will come 58 years after a Missionary Church of God in Christ pastor urged him to play his new sax.
|
en
|
Berkeleyside
|
https://www.berkeleyside.org/2023/06/20/david-murray-back-room
|
The jubilant wail of David Murray’s saxophone first resounded on Earth in Berkeley, circa 1965, at the Missionary Church of God in Christ on Allston Way, a congregation where his father was a founding deacon and his mother played organ.
Handed an alto saxophone earlier that fateful day by music teacher Phil Hardymon at Longfellow Elementary School, the proud fourth grader brought his newly acquired horn to church, where the Rev. Thirland Daniels said, “Young Murray’s got a new instrument. Let’s hear you play something,” Murray recalled.
“I probably sounded like a young inexperienced saxophonist playing multiphonics and he said ‘You sound very spiritual.’ After a few weeks, I knew all the songs already. I grew very quickly on the horn.”
Murray grew into one of the mightiest tenor saxophonists and bass clarinetists in jazz history, a player whose sound is steeped in the ecstatic Pentecostal gospel music he absorbed growing up in Berkeley. Now living in New York after a quarter-century residency in Paris, he returns to town Friday for a Back Room concert with the GoldenSea Duo featuring Chicago percussion maestro Kahil El’Zabar (they also perform Wednesday, June 21, at Bird & Beckett Books and Records in Glen Park).
He and El’Zabar have been collaborating since 1975, when Murray relocated from Southern California to New York City. He’d spent his high school years performing around the region in R&B bands and playing basketball and football. He made the Berkeley High junior varsity team as a sophomore before transferring to St. Mary’s.
A scholarship to Pomona College put him smack dab in the middle of LA’s roiling creative music scene, and Murray quickly fell in with a brilliant cadre of experimental-minded improvisers and composers such as cornetist Butch Morris, clarinetist John Carter, alto saxophonist Arthur Blythe, bassist Roberto Miranda and Art Ensemble of Chicago drummer Don Moye (during a brief Southland sojourn). El’Zabar was already connected with the Art Ensemble and he and Murray bonded as fierce athletic competitors and emerging artists eager to establish themselves.
“Kahil and I met on the basketball court, and we started hanging out,” said Murray, “Kahil was a great basketball player in Chicago. He’s a visionary who’s hooked up to the creator and the universe, and transfers that to the music. We’re not just a duo. We’re a band. We continue every year to get better and better and more explorative. I’m the silent one on stage, other than what’s coming out of my bass clarinet.”
They documented the duo on the 1989 album Golden Sea, which was released by the German label Sound Aspects. With tunes like “Song For A New South Africa” the project captured the particular optimism of the moment as the political tectonics shifted with the end of the cold war and the defeat of apartheid. When he’s not touring with Murray, El’Zabar is best known for his incantatory Ritual Trio, which has featured Murray and similarly protean tenor saxophonists Pharoah Sanders and Archie Shepp, and the Ethnic Heritage Ensemble, a group that has released a dozen albums since he founded it 50 years ago, including 2023’s Spirit Gatherer: Tribute to Don Cherry.
Among the most prolific artists in jazz history, Murray has released some 265 albums as a leader or co-leader and around another 100 with other artists and groups, most importantly the World Saxophone Quartet. His once torrential recording output has eased in recent years, though he recently documented several of his working bands for Finland’s Intakt Records, like 2022’s Seriana Promethea by his New World Trio (Questlove recently announced he’s releasing Plumb, a four-LP box set he recorded with Murray and Ray Angry in the coming months).
Despite his blizzard of activities, Murray has always maintained close ties to the East Bay. He’s a founding member of the advisory board for the EastSide Cultural Center, where he and poet/activist (and fellow advisory board member) Amiri Baraka developed the opera The Sisyphus Syndrome featuring Berkeley vocalist Faye Carol, bass great Jamaaladeen Tacuma, Boots Riley and the Deep River Gospel Choir (a production they brought to Paris and Milan).
While he’s in town, Murray is convening with Bob Weir, Taj Mahal and Cary Williams to continue working on their musical about legendary Black pitcher Satchel Paige, a Sisyphean project they’ve been toiling on intermittently for some three decades. Every once in a while Weir includes a song from the musical on his set list, through the Paige piece that’s gotten the widest exposure, “Shoulda Had Been Me” (by Weir, Bruce Cockburn, and Michael Nash), appeared on the David Murray Octet’s 1996 CD Dark Star: The Music of the Grateful Dead (a strong contender for the greatest Dead cover album ever).
He credits Berkeley with shaping the artist he became, from Hardymon’s affectionate but demanding tutelage in his formative years to his awe-inspiring experience hearing Sonny Rollins perform solo at the Greek Theatre in 1969 as part of the Berkeley Jazz Festival. Feeling a little envy at the bigger size of Rollins’ tenor sax, Murray implored his father to replace his alto.
His mother had died the year before, and his father, who worked for the Berkeley sanitation department, “took me to the credit union and he took out a loan,” Murray said. “We went to Forrests Music and bought a Selmer tenor that I played up until about 25 years ago.”
|
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9048
|
dbpedia
|
0
| 14
|
https://www.cafeoto.co.uk/artists/david-murray/
|
en
|
David Murray ← People ← Cafe OTO
|
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Since he arrived in NY in 1975, David Murray established himself as one of the prominent saxophone players and leaders of jazz. He has released over 200 albums under his own name, working with the likes of Max Roach, Randy Weston, Pharoah Sanders, McCoy Tyner, Taj Mahal, Mal Waldron, Amiri Baraka, Jerry Garcia, Doudou N’daye Rose, Cassandra Wilson, Jason Moran, Macy Gray, Omara Portuando, Saul Williams, Vijay Iyer, Quest Love, Black Thought, and Gregory Porter to name a few. He is also a founding member of the groundbreaking World Saxophone Quartet which toured and recorded for 40 years.
As well as being a well known bandleader, he is a noteworthy composer and arranger providing memorable melodies and harmonies. His approach to improvisation is instantly recognizable. Even in its freest flights, he acknowledges the gravity of a tradition he honors more than most, combining all the influences he grew out of: gospel, jazz, free/avant-garde jazz, rhythm’n blues, R&B and, in his associations with writers, poetry. The great Cecil Taylor compared him to his greatest predecessors who had signature sounds: “You stick your ear in the door, you know it’s David!’’
His most recent trio, The Brave New World Trio, released an album May 2022 after touring for 2 years. The critics unanimously agree that he is at the top of his game! “The concept of freedom expressed here involves drawing freely from myriad styles, minting them into music that is both uncompromisingly rigorous and directly communicative.” (Downbeat, July 2022)
David Murray goes down as a worthy successor for some of the biggest names in jazz, and he is now contributing to the rise of many young talents acclaimed by the critics.
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9048
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dbpedia
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3
| 16
|
https://www.rollingstone.com/music/music-features/mark-rivera-saxophonist-interview-billy-joel-ringo-starr-1062542/
|
en
|
Saxophonist Mark Rivera on His Years With Billy Joel, Ringo Starr, Foreigner, and More
|
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[
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] | null |
[
"Andy Greene"
] |
2020-09-29T16:22:46+00:00
|
Saxophonist Mark Rivera looks back on his nearly 40-year tenure with Billy Joel, plus his time with Ringo Starr, Foreigner, and others.
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-features/mark-rivera-saxophonist-interview-billy-joel-ringo-starr-1062542/
|
Rolling Stone interview series Unknown Legends features long-form conversations between senior writer Andy Greene and veteran musicians who have toured and recorded alongside icons for years, if not decades. All are renowned in the business, but some are less well known to the general public. Here, these artists tell their complete stories, giving an up-close look at life on music’s A list. This edition features saxophonist Mark Rivera.
In the fall of 2013, saxophonist Mark Rivera found himself in a very tight spot. He’d spent the past eight years juggling his duties in Billy Joel’s band with his role as Ringo Starr’s musical director and multi-instrumentalist, but the Piano Man booked a last-minute U.K. tour the same week he was supposed to tour South America with Ringo.
“I freaked out,” says Rivera. “I had to tell Billy, ‘Billy, I already committed to Ringo. I didn’t know anything about this.’ He looked stunned for a second. And then he did the thing where he weighed one hand against the other, moving them up and down. ‘Billy Joel … Ringo Starr … Billy Joel … a Beatle … Billy … Beatle.’ And he goes, ‘Hey, don’t worry about it.'”
Joel wound up bringing in saxophonist Andy Snitzer to sub in for the overseas shows, marking one of the only occasions where Rivera has missed a show since joining the band in 1982 for the Nylon Curtain tour, replacing Richie Cannata. Every single member of that 1982 Billy Joel band is long gone with the sole exception of Rivera.
“That first band I played in was like Billy holding the wheel on a big eight-cylinder Buick,” says Rivera. “It would just cruise and do what it had to do. This band now? It’s that same Buick with four-wheel drive, the best radial tires, power steering, and air conditioning. It has everything that anyone could possibly want. I’m proud and so incredibly humbled that we’re coming on 38 years together. It’s unbelievable to think about.”
Rivera is best known for his work with Ringo and Joel, but he’s also played with everyone from Simon and Garfunkel and Foreigner to Peter Gabriel, Hall and Oates, and Sam and Dave over the years. We spoke to him about his long journey through the music industry.
Editor’s picks
How is your lockdown going?
Good. I exercise a lot, walk six miles a day, and I swim. I get out. I call this our “Covid paradise,” obviously very sarcastically. My wife and I had the virus in March, so I’ve been through it. I know it’s no joking matter.
How bad were your Covid symptoms?
We had a 101–102 fever for two weeks. Couldn’t smell, couldn’t eat. My wife Sandra and I slept probably 14–15 hours a day. When you got up, the first thing you thought was that you needed a nap. It kicked our butts. That’s all I can say.
I guess the silver lining is that you have the antibodies now.
Yes I do. In fact, I got a second antibody test last week. That doesn’t alleviate the fact that we all need to be extremely vigilant. I must say, I’m a proud New Yorker. I believe that Governor Cuomo has done an amazing job. I stand behind him 100 percent.
This must be a real change for you. You’re used to playing the Garden every month and stadiums all over the world.
I play all the time. I play with 12 to 15 different bands at any given time. I have my own band. We’re entertainers. I just spoke to [Billy Joel bassist] Andy Cichon and [percussionist] Crystal [Taliefero]. All of us are feeling the same thing. The biggest thing we’re missing is the human contact. As performers, we feed off the energy of the crowd and it’s not there. I’m very much looking forward to our first show back.
I can’t say enough about what Billy has done for this entire … some people call it a community, but it’s a village we have that he’s created. He’s been so incredibly gracious and generous. I don’t have adjectives to describe. Remember the movie As Good As It Gets when Helen Hunt is trying to tell Jack Nicholson how much she appreciates him? He’s looking at her like, “Please stop with your words.”
To be completely serious: a heartfelt thanks to him for taking care of this group of people. Everyone I speak to on the crew and the band feels the same way. I know other situations where guys have played with certain bands for years and they made three-year commitments and the rug has been pulled out from under them. I applaud our Piano Man and God bless him.
I want to go back here and talk about some key moments in your life. How old were you when music entered your life in a serious way?
In a serious way? I was six or seven when I started singing in glee club. But I remember the Three Stooges. I could sing “Play a Simple Melody.” It was a very difficult melody. My parents learned I had good pitch. As far as being serious, I was always a kid in a band. But the serious moment would have to be February 9th, 1964. Everyone will say the same thing. It’s when the Beatles were on The Ed Sullivan Show.
I’d already been playing saxophone. I already had a guitar. But when they were on The Ed Sullivan Show, my whole life changed. My Aunt Iris bought me the album before the show. She wanted to prepare me. But when I heard John, [sings] “It won’t be long, yeah!” that voice just shattered me. I’ve never heard music the same way. I was definitely bitten.
What drew you to the saxophone?
My uncle Vinnie, my godfather, played the saxophone, in a wedding-type band. I liked it. They bought me a saxophone that “fell off the back of a truck” in Red Hook, Brooklyn, near the projects. It “fell off the back of a track” [laughs] and my father was able to afford to buy me a saxophone.
Related
But it was in a hope chest for about a year. They didn’t want me to just start playing it, so I’d open up the hope chest and stare at it while my parents were out and put it back in right with all the doilies and stuff. About a year and a half later, I got to play it. I started taking lessons from my uncle. About a year later, he said I was better than him.
In the Sixties, did you see any great concerts in New York?
Oh, absolutely. I saw Hendrix four times. I saw Cream. I saw Led Zeppelin. I would go to the Fillmore every Friday or Saturday, any weekend that I wasn’t working. I was a big fan of Moby Grape. In 1967, I saw them at the Village Theatre. I was going to see Moby Grape, but Skip Spence, the guitarist, had a bad trip, apparently, and they had to cancel the show. Lo and behold, Rosko [William Mercer], the DJ on WNEW, said, “Now the total sound: Cream.”
I got to see Cream’s first performance in New York. It was insane. Fresh Cream had just come out. I saw tons and tons of shows, a lot of R&B, the Chambers Brothers, Sly [Stone].
Seeing Zeppelin then must have been amazing.
I saw them at the New York State Pavilion [in August 1969]. Tons of other shows at the Fillmore like Deep Purple opening up for Creedence Clearwater Revival. There was a real, real plethora of great music.
How did you wind up touring with Sam and Dave in 1972?
My friend Marty got me an audition. At the time, I only played alto saxophone. All I had was one saxophone. I get there and I’m one of two white guys. I knew all the parts. [Hums “Soul Man”] I grew up playing those as a kid.
The musical director, this guy Ben Little, the trombone player, he walks up to me and goes, “You blow bari?” I go, “Sure!” I’d never touched a baritone sax in my life. I went out and I rented a bari sax that day. I got my father to loan me $100 for the deposit. I went and got a bari sax and a mouthpiece and reeds. I shredded that for five, six hours and went the next day to the rehearsal and got the gig.
The other part was that I had to learn the steps. I had to bend down. And when I bent down with the bari sax, which weighed about half my weight, the trumpet player was swinging the trumpet over my head. You don’t want to make mistakes with the choreography.
Tell me about working with Sam and Dave. I know they weren’t very close offstage.
It was a little rough. Sam [Moore] to this day is a friend and a true gentleman. Dave [Prater] … they had already gone through their heyday. They had a private jet back in the day. Sam kind of was able to temper his expectations. Dave was just very upset with how things were turning out. He was angry.
The two of them would take a chartered plane after the show. One night, we shot craps and I took all of Dave’s money. I’d never shot craps in my life. I don’t know how I did it. I don’t know what happened. But he ended up having to sit in the station wagon with us. It was seven guys in a station wagon, with a U-Haul behind us with all our gear.
Onstage, you wouldn’t know there was any animosity. You wouldn’t know anything. But it was tough. The shine was definitely off. It was sad.
Three years later, you played with John Lennon at a tribute show to Sir Lew Grade, which wound up being his last public performance. Tell me about that.
I was in a band in Brooklyn. Jimmy Iovine played in a rival band. We played in a battle of the bands in Brooklyn. He went from being a tape operator to producing seminal records for Bruce Springsteen and John Lennon. We all got to hang out and John decided he wanted to do this tribute to Sir Lew Grade. It was crazy. I just happened to be at the right place at the right time with that situation.
Why were you guys wearing masks on the stage?
That was Yoko Ono showing the duplicity of our government and the country. It was two-faced. Each of us had a face mask in the back and a skullcap. It was very bizarre, but that was her thing. Hey, frankly, I would have worn an ass on my face if it meant playing on TV with John Lennon. I wasn’t going to argue.
I can’t imagine the thrill of being a Lennon fan one minute and then playing “Imagine” with him onstage.
The incredible thing is that the last time he sang that song live, I was with him. Later on, in 1985, I ended up playing with Yoko. It was a great band. We rehearsed up at the Dakota. I remember seeing John’s bloody glasses on a window sill. Through the glasses, you could see Strawberry Fields. It was bizarre — an eerie, eerie thing.
I feel like a lot of people don’t know about this performance. I always read that his last time onstage was with Elton John in 1974, which is just not true.
This was live to track, frankly. But we performed and he was singing live. For all intents and purposes, the last time he sang “Imagine,” I was onstage with him. It’s still crazy to think about. And what’s really crazy to think about as time went on, I played with John, met Paul, and became Ringo’s musical director. It’s a whole bunch of stuff. Who would have thought a kid from Brooklyn would be doing all that stuff?
How did you wind up on Foreigner 4?
That was through Mutt Lange, who I met when I was in my band Tycoon. We were hellbent on Jack Douglas producing our album. He was the man. He had already worked with Aerosmith and it was the sound we wanted to go with. Clive Davis said, “I want your band and I’ll pay $200,000,” which is way more money than Atlantic was going to pay, “but you have to use this producer, Mutt Lange.”
If I could be frank, I said, “Who the fuck is Mutt Lange? What is a Mutt?” Nobody had heard of him at the time. [Clive’s] insistence is what led us to record Tycoon with Mutt. The rest is history.
Anyway, Mutt and I developed a very close relationship. We still do. We keep in touch. I was playing with a bunch of bands at a club called Trax in the city. We had a group and we’d back anybody. One night at around 11:30 p.m. I just walked up into my sixth floor walk-up with my tenor and alto [saxes] and the phone rings and it’s Mutt. “Marcus, how are you? I’m wondering if you could come down to Electric Lady?”
I said, “When?” He goes, “Right now.” I said, “I just walked up six flights of stairs.” He goes, “Well, Foreigner is doing their new record.” It was like, “Boom! That’s that.” I flew down the stairs. I don’t even remember if I got in a cab or took a train. I went down to Electric Lady and played [imitates “Urgent” sax part] as soon as I walked in.
Then Mick [Jones] and Lou [Gramm] had a foosball table and they were mixing some vodkas. We recorded for about five hours. They’re going through every iteration of the songs, trying to change this, double-track that, harmonize this. Finally, Mutt said, “How about this?” And he played the tape and I swear it was the first thing I played when I walked in. They went, “That’s it! It’s great!” Mutt said, “That was his first take, gentleman.” That reminds me that your first instinct is usually your best. If you don’t overthink stuff, you are always better off.
How did that lead to you going on the tour with them?
Mutt knew that I could sing because I sang with Tycoon. The following week, they were going to do a bunch of background vocals. They had “Waiting for a Girl Like You,” “Jukebox Hero,” “Night Life,” and a few other songs they needed to do some serious vocals on. The real background vocals were myself, Lou Gramm and Ian Lloyd. The three of us sang all those insane background parts. Once they knew I could do all that, and Mutt told them I played keyboard, saxophone, and guitar, I got offered a spot on the tour.
Foreigner has so many enormous hit songs, but most people don’t know the names of any of the band members, even Lou. Why do you think that is?
I have no answer to that other than you’re 100 percent right. One time, after I joined Billy’s band, myself, Mick Jones, and Lou Gramm are walking down Broadway. Someone goes, “Hey, that’s Mark Rivera. How is Billy Joel?” I’m standing next to Lou Gramm. I swear. You want to say, “This is Mick Jones.” But you don’t want to do that. It’s bizarre. Here I am with two of my legends, two of my idols and it’s “you’re Billy Joel’s sax player,” which I’m very proud to be, but … nobody knows their names. Nobody knows their names. If you took their photos and put them in a lineup, people would probably pick the wrong people.
Were you a big Billy Joel fan before the audition you had with him?
No. I’d be the first to be honest with him. My record collection was Hendrix, Cream, R&B, Traffic. Traffic was a huge influence on me. When I was a kid, I wanted to be all of Traffic. I wanted to play like [saxophonist] Chris Wood and sing and play keyboards like Stevie Winwood. That is where I come from and a great deal of where Billy comes from. But no. I didn’t own a Billy Joel record before the audition.
How did you get the audition for Billy Joel?
David Brown, the guitarist, and I were in a bunch of bands prior to that. We were in a band called the Late Boys because every gig we did we were always late, so we just decided to call it the Late Boys. We played a bunch of gigs. One of the gigs was out in [Roslyn] Long Island at My Father’s Place and [bassist] Doug Stegmeyer was there. And Billy and [saxophonist] Richie [Cannata] had already parted ways. There was a mutual understanding that was going to happen.
The Nylon Curtain was already recorded. Doug said, “Hey, are you looking for a gig?” I said, “What’s up?” He said, “Billy is looking to replace Richie.” I was like, “Yeah.”
Doug was the musical director. I went out to Long Island with my alto. He said, “I want you to learn ‘Only the Good Die Young,” “Just the Way You Are,” and one other song that I can’t remember for the life of me. But he wanted me to sing background vocals, whatever it was. So I sang it, played on “Only the Good Die Young” and we got to “Just the Way You Are” and I played the solo [sings solo].
At the very end of the solo, Billy literally stops the band. I was like, “Shit. Did I screw it up that badly?” He comes up to me, gives me a kiss and says, “As long as you want to be in my band, you’ve got a gig.” He’s kept his word and apparently I’m keeping mine. It’s amazing, thinking back, that I’m the only person still standing from that group.
Why do you think that is? Why are you the lone survivor of the class of 1982?
It’s a humbling thing to think about. Why do I think it is? I’m still that guy when I was 17. “What do you need? I got it. I’ll do it.” I have sung vocal parts for every incarnation of this band. I can remember every one of them, from the time when I was the only guy singing the high background parts to when Pete Hewlett came in the band and I sang below him. Now there’s Crystal, and she tears everything up, and Michael DelGuidice is a spectacular singer.
You only play two hours a night. The other 22 hours of the day, it’s how you get along. I’m a firm believer in that. People say, “What’s the trick?” I say, “There’s no trick. It’s attitude, aptitude and gratitude.” It’s that simple. You lose track of it. Whatever gift you have as a player or a writer, that’s one thing. That’s your aptitude. You attitude is what you take into it. And be grateful. In this horrible time, I am so over-the-moon grateful to Billy, as we all are. My gratitude to him is something I have always expressed.
Your first Billy record was An Innocent Man. It must have been fun to work on the throwback sounds for that one.
Yeah. It was great. I was very involved in that record from playing in the horn section with Michael Brecker, Dave Sanborn, and Ronnie Cuber on “Tell Her About It” and “Easy Money,” and singing the backgrounds on “Uptown Girl” and “Tell Her About it,” and playing the triangle on “An Innocent Man.”
The difference from being in Foreigner — which I’m incredibly grateful for the opportunity; I love the band; I love the music — but the moment I joined Billy’s band, I was part of a band. Besides the fact that it said “Billy Joel,” I was one of the guys. I felt like that from the first meeting with the guys. I felt like I fit in.
You went out with Simon and Garfunkel the year after you joined Billy’s band. How were they as bandleaders? They’ve both said that this was a difficult period where they weren’t always seeing eye to eye.
Right. It’s funny. I’ve worked with three duos [Sam and Dave, Simon and Garfunkel, Hall and Oates] and they didn’t always get along. With Paul and Artie … it’s unfair to say anything less than Artie has a beautiful voice, but he was in the shadow of Paul’s brilliance as a songwriter. You got the sense that was the case. At rehearsals or onstage, Paul was always happy-go-lucky and really chill. We’d run rehearsals and he’d break a string and be like, “Let’s take five.” Then you’re gone for an hour and a half.
It was very chill and they were an absolute joy. I’d sometimes sit on the side of the stage with [drummer] Carlos Vega because they’d be doing songs without any drums or saxophone. We’d be sitting there, looking at them and just flipping out.
You also played sax on “Train in the Distance” on Paul’s album Hearts and Bones.
Yeah. It was just Paul and Roy Halee, producer. There’s nothing with sax on the song. It’s just chugga-chugga-chugga [like a train]. And then all of a sudden at the end, Roy said, “I want it to sound like there’s a train in the distance. I don’t want you reaching and soaring. Just be like a faint train.” That’s what came out. I think I did two passes on that. Look, when you have a person that actually knows what they want, it’s easy. That was a thrill.
Tell me about playing on Peter Gabriel’s So, especially “Sledgehammer.” That’s probably the most iconic horn part you ever played.
It was insane. I was touring with Foreigner on the Agent Provocateur tour when I got the call, so my saxophones were in a road case way the hell back in a semi. I think they were parked at Madison Square Garden since we had a show the night before or the night after. I called my saxophone-keyboard-guitar tech because I didn’t have a single horn. He goes crawling through all this gear and manages to come out with my alto, tenor, and bari. All three horns are on that song.
I was a huge Genesis fan and an even bigger Peter Gabriel fan. So now I’m meeting up with [producer] Daniel Lanois and I’m really taken back, but I’m trying to be cool. My mother used to say, “Treat the people who are famous like they’re not. Treat the people who aren’t like they are.” I say, “Nice to meet you. Blah blah blah.”
Now we’re in the studio. It’s myself and Wayne Jackson from the Memphis Horns. There’s nothing on the track besides Tony Levin’s bass, Manu [Katché]’s drums, a little bit of weird keyboard stuff, and the guitar player [David Rhodes]. It was just a groove. Peter pressed the talkback button and said, “Just play the first thing that comes into your head.”
I swear, on my eyes, the first thing I played was [imitates the “Sledgehammer” horn part]. Swear to God. Peter freaked. We double-tracked and triple-tracked. It went on and on and on. That’s pretty much it.
I bet you were surprised to see it become this massive hit.
It was great. I’ll tell you one other story. As I was saying, I was with Foreigner and I only had two or three days to be home. We have a son who was a year and a half old. I had two days to be home with my family. What do I do? Tell my wife I’m going to go to the studio to record. She flipped out.
So now fast-forward to 1986 and I’m back home after the Foreigner tour. We’re driving along. Our son is in the back row in his car seat. All of a sudden, “Sledgehammer” comes on. My wife goes, “That’s our favorite song!” Our son is bouncing along to it. I go, “Sweetheart, that’s the song I left to record on.” She gave me a kiss. That, my friend, is the power of radio.
Do you get royalties for that song? You created a key part of it.
I do. It’s the same with the vocals for “Jukebox Hero” or “Tell Her About It” or “Uptown Girl.” Any time those are in a movie or commercial, I get residuals.
I spoke to Billy a number of years ago and he told me that he only likes two or three songs on The Bridge. As someone that played on it, how do you feel? I think he’s being a little hard on it.
Look, I love “Temptation.” “This Is the Time” is my favorite all-time Billy Joel song. There’s my answer. People say, “What is your favorite Billy Joel song?” I say, “It’s one I’m not on. There’s not even a saxophone on it.” My three favorite Billy songs are “‘This Is the Time,” “So It Goes” and “All About Soul.” They are just great songs.
Everyone goes, “You must love ‘New York State of Mind.'” Yes, I love “New York State of Mind.” Yes, I love “Piano Man” even though I don’t play on it. They go, “What’s your least favorite Billy Joel song?” I go, “‘Captain Jack’ because it’s so fuckin’ long.”
David Brown plays some beautiful stuff on “This Is the Time.” That’s still the original band that I joined. “Baby Grand” is also on that and “A Matter of Trust.” But I know it’s hard for Billy to step away from himself as a writer. I’d never put words in his mouth, but I think at the time he knew he had more in him. He might not have been happy with how it turned out or what happened going forward. Look, all his records are great. There aren’t a single record where you can go, “That’s crap.”
On Storm Front and River of Dreams, he used different musicians. Is something like that hard on your ego?
Look, the funny thing about Storm Front is that Mick Jones produced it and Billy said he wanted to emulate “Sledgehammer.” Who don’t you call?
You.
Which is fine. At the time, I was out with Hall and Oates. And so everything happens for a reason. I love playing with Daryl and John.
You finally found a duo that work well together.
They work very well together. Again, you have one powerful, powerful force in Daryl. He’s incredible. “Maneater,” was originally just a reggae tune that Daryl turned around. “Out of Touch” was something where Daryl changed the words. They are a great team. The thing about them is that Philly connection, that soulful connection.
It’s possible I was on the road when Storm Front was recorded. I’ll take that to the grave. That’s why they didn’t call me. [Laughs]
After River of Dreams, did you sense that Billy was done making new records?
He alluded to that. It’s hard to say. If you had told me after Storm Front and a certain amount of time had passed that we’d be doing what we’re doing now, I’d say, “Man, whatever you are smoking has got to be really good.”
I know that Billy is still writing classical music. I still like to think that something is going to come out and he’ll write something. I remember the famous quote when Elton said, “You don’t write enough records,” and Billy said, “You write too many records.” Frankly, I agree with Billy 100 percent. Without casting aspersions, can you sing one melody off the last three Elton John records? I can’t even name a title. That’s just how things are.
How did you wind up on the Ringo Starr tour in 1995?
That’s when it gets amazing. Clarence [Clemons] had done the first two tours. I was a big fan. The first tour, Ringo had three drummers with Levon Helm, himself, and Jim Keltner. Those two tours went out and I was like, “Wow.” I thought I’d never be in that band.
Turns out Bruce decided in 1995 to get the E Street Band back together. I don’t think Clarence told Ringo until February of 1995. By May, we were already rehearsing. This guy George Travis, a wonderful guy, used to put the tours together for Ringo and Billy. He does Bruce, Madonna … Just an amazing amount of stuff, not unlike our [production manager] Boomer Thrasher. Everyone works for Boomer. He is God and I’ll go on record to say that.
It was George Travis and David Fishof. It was his idea to do the All Starr Band. George said, “You gotta hear this guy, Mark Rivera.” Ringo says, “What does he do?” “He’s a sax player.” Ringo said, “I don’t want a fuckin’ sax player.” He had a bad taste in his mouth because, in his eyes, Clarence hung him up. George was like, “Just give him a shot.”
What was it like when you got there?
I had my road case with my alto, my tenor, my bari, harmonicas, guitars, and all this stuff. We get to rehearsal and, at the time, Felix Cavaliere, who I love dearly, like my dear uncle, he was supposed to be the musical director.
Felix, bless his heart, does what he does, and he doesn’t do other things. He was supposed to have all these ideas and charts and know what vocals are going where. But I grew up playing all those songs from all those guys in the band, between the Who and Bachman–Turner Overdrive, Grand Funk Railroad, Billy Preston. I knew all that stuff because I’d already played it from the time I was 15.
Anyway, I come along, play the part, I sang all the background parts. Then we get to that song “I’m Your Captain” by Grand Funk Railroad. “Who is going to play the acoustic part?” I was like, “Oh, I’ll play it.” And as we’re going through the song, somebody couldn’t figure out where it went to D minor. I said, “That’s a D minor.”
It was a high part and nobody wanted to touch that. Again, I was like, “I can do that.” I’m playing acoustic guitar and I snuck up to the microphone with the two-part harmony bit. Mark [Farner] turns around and was like, “Wow.” He was very impressed.
We did another song and Felix didn’t know a particular chord. Someone is like, “What happens on the bridge of such and such a song?” And Ringo with his arms folded went, “Just ask Mark. He knows everything.” So, by default, I got the gig as musical director and it’s been the same ever since.
I’m a huge fan of the Who. Tell me your favorite memory of John Entwistle from that tour.
The Ox. I love him so much. He was stone-cold deaf. The man was deaf. He also had a road case that was about six feet tall and four feet wide and four feet deep. The two front panels would open up and flare out. They were all his famous leather jackets. Up and down on each side, there must have been ten pairs of boots that matched each leather jacket. It was unbelievable. I had a photo of myself and Ringo holding one of the boots.
The main thing I remember was how soft-spoken he was. He would sound like, [deep, indecipherable grumble]. Nobody could understand a word he said. At one point, at the end of whatever he was talking about, he’d chuckle. Everyone would laugh, but nobody heard a friggin’ word. He was a gentle soul with a huge heart.
I’ve seen videos of that 1995 tour. There must have been moments where it felt like this classic-rock fever dream. You’re up there with a Beatle and members of the Who and Cream and you’re playing songs by Grand Funk Railroad. The whole thing is really wild if you stand back and think about it.
It’s unbelievable. My second band, in 1997, was possibly my favorite band that I’ve ever been in. It was Peter Frampton, Jack Bruce, Gary Brooker, Simon Kirke, myself, and Ringo. It was a six-piece band. And the hits … it was an unbelievable parade of hits. Not just marginal hits, but massive hits like “Sunshine of Your Love,” “White Room,” “A Whiter Shade of Pale.”
You played the organ on that one.
Let me tell you a little story about that. As the musical director, I oversee the rehearsal. Let’s say we have a week to rehearse. On day one, I always make sure we do three Ringo songs and at least one by each of the guys. We do about seven songs and so by the end we’ve done everything and have about two days to rehearse. The first day, I wanted to go over “A Whiter Shade of Pale.” It’s a beautiful song and I know it would be one of the last ones since I always write the set list. It was the third-to-last song before Ringo’s last tune, which is often “Photograph.”
Anyway, I had “A Whiter Shade of Pale” in that slot and I went over to the piano. Gary Brooker looked at me. He called me “Stoker” since everything was nautical with him. Hey went, “Hey, Stoker. You play the organ on this one.” I was like, “I only play this on piano. Let’s do ‘Conquistador’ instead.” I slid myself out of that responsibility for the day.
I brought a keyboard into my room and shedded that for about five hours. The next day, I played the organ. Every night I nailed it, I have to say. Every night, the entire set would run though and I’d play all these great songs with Peter and Simon, who would do [Free’s] “All Right Now.” But the third song from the end I’d be like, “Learn that part. Learn that part.” It wasn’t something where I could screw up and nobody would notice. It’s something that is embedded in everyone’s DNA. It was every night and it was a joy.
Ginger Baker guested at some shows, so two thirds of Cream were on the stage with you.
Oh, man. He came out and played “White Room.” We were in Denver. That’s where he lived. I’m like, “Are you friggin’ kidding me?” It was unbelievable. Unbelievable. I was like, “I saw these guys in ’67 and now it’s like 1997.” It’s like [hums the Twilight Zone theme]. It’s so freaky and so incredible.
When Billy started touring heavily in 2014, you had to stop going out with Ringo. How did all that go down?
[Bassist] Andy Cichon had a prior engagement with Shania Twain on that 2013 tour, so he had to bring in a replacement for him too. After that, Billy said to us, “Listen, I want you guys to be in the band.” We said, “Absolutely.” Ringo was talking about a tour and he sent out dates. I would have had to miss three Billy Joel shows. It wasn’t even a whole tour, but it wasn’t going to happen. I was committed to Billy.
Now, I’m in the same boat as before, but flipped. I had to call Bruce Grakal, Ringo’s manager and someone that has been with him forever. I said, “Bruce, I have a conflict. I don’t know how to tell Ringo what is going on.” He says, “Marky, don’t worry about it. He loves you. Just call him and he’ll understand.” I’m like, “Aw shit.”
My father used to say, “Follow the bad road quickly.” I did not wait. I hung up the phone and immediately called Ringo. He was like, “Hey, Mark. I’m excited. We’re going on tour!” I said, “That’s why I’m calling. I have bad news.” He said, “You’re not hurt, are you?” I said, “No, but I have a commitment I cannot get out of. I want to give you all the time so you can replace me.” He goes, “Oh, that’s too bad.”
I expected him to say, “It’s been nice having you in my life all this time.” It was just a simple, “I understand. I love you. Be well.” I thought that was the end of the conversation. I said, “I love you. I wish there was more I could say.” He said, “There is nothing more you can say.” I was waiting for him to say, “Have a good day. Goodbye.” At the very last moment, he says, “You’ll still be my musical director, won’t you?” I was like, “There is a God!”
There have been times I’ve shown up three days before a tour starts. I crack the whip, do rehearsals, didn’t even get to see the first show, and I was on a plane the night before a Billy show to get back out. I’ve been so, so blessed with this balancing act that I’ve been doing. Want to hear a story?
Sure.
In July of 2010, it was Ringo’s 70th birthday. Joe Walsh called me up and said, “Hey, Mark. Do you know Paul? Paul wants to sing ‘Birthday’ for Ringo and he wants it to be a surprise.” I said, “OK, who is in the band?” He goes, “You, me, Paul, Rick Derringer, Edgar Winter, and Gregg Bissonette. I was like, “OK.” It was a secret, covert operation. We had to go to Radio City Music Hall in the afternoon to rehearse, unbeknownst to Ringo.
Now we’re onstage and we start playing. He says, “By the way, I haven’t played this in about eight years. Just bear with me.” He plays [hums the bass part slightly off] and stops. We go through the whole song. I say, “Well, actually Paul …” Everyone stops dead because here I am correcting Paul McCartney. I said, the bass line goes like [hums it correctly]. He goes, “Oh, right, I forgot that part. Let’s do it again.”
The next time we run it, Paul jumped in two measures early to the “we’re going to a party” verse. At the end of the song he goes, “How was that?” I go, “Actually, Paul …” Everyone looks at me like, “This guy is going to be fired.” I said, “Actually, Paul. You came in on the ‘party, party’ part two measures early.” He says, “I’ll tell you what, mate. We’ll do it one more time. I’ll play the bass and you sing it and I’ll sort it out.” I’m singing “Birthday” with Paul on bass, my favorite bass player, and I’m tripping.
I think of all the great guest spots at Billy shows, the Springsteen one was the best. Did you get tips on the “Born to Run” solo from Crystal? She played it all the time with him.
I played it on tenor. I just listened to it. Again, I played that with cover bands. Any time I played with a band in New Jersey, we’d do it. If a sax player doesn’t know the solo to that song? Dude, you weren’t really paying attention. People ask me, “Do you guys rehearse for a Billy Joel show?” I say, “No. We show up for soundcheck. We’ll run through a couple of songs. Michael DelGuidice will sing a few songs and we’ll work on background harmonies. Once Billy shows up, we don’t do a single Billy Joel song. We do Led Zeppelin, Hendrix … all covers.” Billy loves his covers. That’s how it is.
Let’s say you were talking to a young musician who was about to go on tour backing a major solo artist. What tips would you give him or her for how to maneuver through that?
Get along. Just get along with people. Again, confidence versus arrogance. However well you play will take you so far. Having a good attitude will take you far and being grateful will take you across the finish line. If you show gratitude when all is said and done, whoever the boss is, whoever the bandleader is, whoever is making the decisions, they will recognize you for that special talent. You can be a great player and be a dick. It doesn’t work and you won’t work.
I’ll tell any young person that is thinking about it, “If you’re ready to have your heart broken, let’s go.” You’re going to hear the words “no” and “not quite” all the time. This business is full of rejection. Despite all these great stories I’m telling you, there were times I couldn’t pay a phone bill or do certain things.
Are you confident that you’ll be back onstage with Billy in 2021?
I think all of humanity needs to take a step back and realize that we’re all in this together. Democrats, Republicans, Americans, Europeans, every color, we’re all in this together. If we can do that, we deserve to go out and perform.
I believe, and I know in my heart of hearts, that people are so, so starved for escapism and entertainment. There’s this void that is in our hearts. The true line that comes to mind all the time is, “Because he knows that it’s me they’ve been coming to see to forget about life for a while.”
We need to forget about this. Billy’s music will be the thing that will heal millions of people. I believe when we finally do our first show at Madison Square Garden, when that comes to be, it’ll make The Last Play at Shea look like a gig at CBGBs.
That’s how much it means to me. That’s how much it means to everyone. We all need to forget about life for a while. Billy is the guy. Of all the love I have for people in music, when he performs and when he puts it out there and those songs connect with people, we all forget about life for a while.
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Read news, reviews, in-depth articles, and features by EV industry journalist David Murray.
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https://insideevs.com/info/team/david-murray/
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David Murray,
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dfwgreencars@gmail.com
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2024-05-02T20:01:19+00:00
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David Murray new exciting quartet focuses on the richness, tonal variations and structures of new tunes that reflect the sovereignty of love.
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en
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LYDIALIEBMAN.COM
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https://lydialiebman.com/index.php/project/david-murray-quartet/
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Francesca
Release Date: May 17, 2024
Label: Intakt Records
Francesca re-introduces audiences to David Murray's unmatched compositional prowess and muscular sound, this time in the company of his boundless quartet comprising Marta Sanchez on piano, Luke Stewart on bass, and Russell Carter on drums.
With a discography boasting over a hundred records, Murray's command of the studio is as remarkable as his dexterity on the stage. With every melodic refrain, Murray imbues a language that has been shaped and refined over the course of a 50+ year career performing with a diverse array of icons ranging from Elvin Jones to the Grateful Dead. His musical journey has been a tapestry woven with threads of experience and innovation, resulting in a unique sound that is instantly recognizable.
Francesca is a testament to Murray's endless creativity, showcasing his ability to seamlessly blend diverse musical styles. Recorded at Hardstudios in Winterthur, Switzerland, following a triumphant European tour, the album is a reflection of the quartet's profound camaraderie and their dedication to exploring each composition with depth and nuance.
Murray's masterful quartet was formed several years ago after the saxophonist decided that he needed a fuller group with a piano to help him fulfill his compositional aims, and powerful enough rhythmically to inspire him to play something new and fresh. Murray heard a synergy of sound in these artists playing and assembled this cohesive unit.
What’s clear from these sessions is Murray’s keen commitment to mentoring a new generation. Stewart lauds the elder statesman’s natural way of imparting “tried and true methods within the tradition” to foster “subversive originality.” Says Sánchez, “David’s good at bringing out the best in people,” a sentiment Carter echoes: “he’s not the type of leader who’s gonna tell people, o.k., you’ve got to play this, this and this. […] He gives you a certain amount of freedom.” Yet the music is so together, so cohesive, continues Carter, that “it almost plays itself.”
Pianist Marta Sanchez's contribution to Francesca is particularly notable, as Murray himself attests, "Marta Sanchez exemplifies an international flair of a pianist that is well-schooled in Classical music with a subtle approach to jazz, having studied the greats like Randy Weston, Fats Waller, James P. Jonson, Cecil Taylor and John Hicks. She is very sensitive and explosive." Bassist Luke Stewart's mastery of the bass is another highlight of "Francesca," as Murray remarks, "His bow articulation is excellently suited to whatever I demand and plus he swings my band. Out of the tradition of Jimmy Garrison and Fred Hopkins, he is the next cat on this instrument for this era of Jazz." Drummer Russell Carter's precise and powerful performance on Francesca further enhances the album's dynamic range, as Murray remarks, "To have a drummer as precise and powerful as Russell is rare. His sensibilities are endless, and he really listens and responds effortlessly and tastefully. A drummer's drummer."
Murray, wielding his tenor saxophone and bass clarinet, guides the ensemble through a musical journey that transcends traditional genre. From soul-stirring ballads to exhilarating improvisations, each track on Francesca challenges the meaning of jazz in 2024 with a unique and exciting blend of innovation and tradition.
The album's title track, "Francesca," paints in waltz time a powerful, loving portrait of someone whose creativity, laughter, and daily presence at home and on the road have been vital to Murray, the designer Dr. Francesca Cinelli-Murray. Other compositions, such as "Ninno" and "Shenzhen," offer poignant reflections and evoke vivid imagery of both Murray and Francesca’s rich experiences through Murray's evocative melodies.
“Come and Go” is a brash tenor workout in a cut 5/4 time followed by an up-tempo performance of Murray’s “Am Gone Get Some” that sets Sánchez and Murray swinging and features Carter’s deft sticking after trading fours. Taken on bass clarinet, the gorgeous “Richard’s Tune” is Don Pullen’s seventies-era homage to A.A.C.M. founder Muhal Richard Abrams. Anchored by Stewart’s fleet bass lines and Sánchez’s floating chords, “Free Mingus” shows the appreciation a father holds for the musically gifted son he’s watched mature. Closing out the set is “Cycles and Seasons”, which moves from jaunty 7/4 to swaggering 4/4, a celebration of change.
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https://schoolofmusic.ucla.edu/event/david-murray-in-concert/
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en
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David Murray in Concert
|
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2024-01-08T23:58:11+00:00
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Jazz saxophone great David Murray will be featured in a solo concert.
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en
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/app/uploads/2018/08/cropped-site-icon-150x150.png
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The UCLA Herb Alpert School of Music
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https://schoolofmusic.ucla.edu/event/david-murray-in-concert/
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Jazz saxophone great David Murray will be featured in a solo concert. He will also hold an audience Q&A at 3 p.m.
Since he arrived in NY in 1975, David Murray established himself as one of the prominent saxophone players and leaders of jazz. He has released over 200 albums under his own name, working with the likes of Max Roach, Randy Weston, Pharoah Sanders, McCoy Tyner, Taj Mahal, Mal Waldron, Amiri Baraka, Jerry Garcia, Doudou N’daye Rose, Cassandra Wilson, Jason Moran, Macy Gray, Omara Portuando, Saul Williams, Vijay Iyer, Quest Love, Black Thought, and Gregory Porter to name a few. He is also a founding member of the groundbreaking World Saxophone Quartet which toured and recorded for 40 years.
As well as being a well-known bandleader, he is a noteworthy composer and arranger providing memorable melodies and harmonies. His approach to improvisation is instantly recognizable. Even in its freest flights, he acknowledges the gravity of a tradition he honors more than most, combining all the influences he grew out of: gospel, jazz, free/avant-garde jazz, rhythm’n blues, R&B and, in his associations with writers, poetry. The great Cecil Taylor compared him to his greatest predecessors who had signature sounds: “You stick your ear in the door, you know it’s David!”
David Murray goes down as a worthy successor for some of the biggest names in jazz, and he is now contributing to the rise of many young talents acclaimed by the critics. His new quartet album will be released in May 2024: Luke Stewart on bass, Marta Sanchez on the piano, and Russell Carter on drums!
“David Murray, the master saxophonist who has reconciled the whole history of jazz tenor, from swing to free, during a wildly prolific career.” NYTimes
“Several of his recordings are among the benchmark achievements in the postmodern era and others attest to a consistency that is rare in any era […] No musician personifies better than David Murray the dilemma of reconciling jazz’s family values and the claims of autonomy.” Gary Giddins
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https://www.jmirecordings.com/the-jmi-record-store/david-murray-sunmoon-double-12-vinyl-lp-45-rpm
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en
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Sun/Moon (Double 12" vinyl LP 45 RPM) — J.M.I. RECORDINGS
|
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JMI-10. This LP was a turning point for our label. After nine records, we had our process, confidence and profile high enough to swing for the fences: the tenor titan David Murray. Murray represented a major step up for JMI as regards his history in this music. With over 200 LPs as a leader and hund
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en
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https://images.squarespace-cdn.com/content/v1/586154006b8f5b1c08dec896/6a169bea-dbf4-4d3b-a0a5-3c7439daf46d/favicon.ico?format=100w
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J.M.I. RECORDINGS
|
https://www.jmirecordings.com/the-jmi-record-store/david-murray-sunmoon-double-12-vinyl-lp-45-rpm
|
JMI-10. This LP was a turning point for our label. After nine records, we had our process, confidence and profile high enough to swing for the fences: the tenor titan David Murray. Murray represented a major step up for JMI as regards his history in this music. With over 200 LPs as a leader and hundreds more as a sideman, not to mention decades of critically lauded performances, Mr. Murray is simply one of our musical heroes. Indeed, during a period of months in 2020, Mr. Mandel did a series of Instagram live shows each Monday, playing only LPs from Mr. Murray’s prolific output. He called the show Murray Mondays. That’s why it was such a happy coincidence that after years of living abroad, Mr. Murray was moving back to New York City and amenable to recording this solo tenor saxophone and bass clarinet session for us. From the moment he ambled into Reservoir Studio on December 4, 2021, unassumingly unpacking his horns, until he regaled us with stories about other heroes Jerry Garcia and Bob Thiele, Mr. Murray was a dream fulfilled. The recordings were pristine, with nary a dud among the original compositions and improvisations. We had to release everything in the highest audiophile pressing we could: our first double LP mastered at 45 r.p.m. This was also the first cover to feature photography by Mr. Mandel, who by this release was fully in control of the design of our jackets.
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| 74
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https://www.nzglassworks.com/products/gatherergreentall
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en
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Gatherer | David Murray
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Well known for his signature cast glass pieces, David Murray has won significant national and international awards including the prestigious Ranamok Prize, Australia. With a signature graduated colour and density, his simple yet powerful pieces examine sculptural scale suggesting contradictory elements of fragility and strength.
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en
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//www.nzglassworks.com/cdn/shop/files/favicon_32x32.png?v=1686274984
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New Zealand Glassworks
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https://www.nzglassworks.com/products/gatherergreentall
|
Well known for his signature cast glass pieces, David Murray has won significant national and international awards including the prestigious Ranamok Prize, Australia.
With a signature graduated colour and density, his simple yet powerful pieces examine sculptural scale suggesting contradictory elements of fragility and strength.
His large substantial Hunter, Gatherer and Territory series pieces, constructed from a single curved slab of opulent glass are a subtle reflection of the landscape. In his Territory pieces for instance, the restrained organic curvature of form rises to opposing jagged peaks emulating a craggy landscape while also providing us with a sense of action and an awareness of the maker. Murray regularly plays with the exterior planes, one side of his glass could be smoothed to a high polish while on the opposing side undulating ridges and grooves create surface tension akin to strata or a lava current giving the impression of inner movement and turmoil.
Murray explains 'My work uses simple ambiguous shapes and the qualities of the glass to create a sense of these fundamental stimuli. They are neither tool nor weapon but describe a feeling of intent make simple minimal forms without embellishment. These are large solid pieces and I am trying to achieve a silent presence in the work.'
Dimensions: H: 480 x W: 300 x D: 200mm
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9048
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https://hiddenhamilton.blogspot.com/2015/01/which-david-murray-was-he.html
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en
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Hidden Hamilton: Which David Murray was he?
|
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Stories about the hidden treasures of Hamilton, NSW - its people, places, past and present.
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en
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https://hiddenhamilton.blogspot.com/favicon.ico
|
https://hiddenhamilton.blogspot.com/2015/01/which-david-murray-was-he.html
|
Two books based on this blog, beautifully produced by Hunter Press, are available:
Hidden Hamilton: Uncovering stories of Hamilton, NSW (2014)
‘This book will become Hamilton’s not-so-hidden treasure and will inspire for generations to come’.
– Gionni Di Gravio, Archivist, Cultural Collections, University of Newcastle, NSW
More Hidden Hamilton: Further stories of people, place and community (2016)
‘… a gem of social history in words and evocative photographs’
– Barry Maitland, author
The books are available from MacLean’s Booksellers and Q’s Books in Hamilton. To order online, please go to the Hunter Press website here: https://hunterpress.bigcartel.com/.
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https://littlesainthealdsburg.com/happenings/live-at-little-saint-connor-pledger-w8taw
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David Murray Duo — Little Saint
|
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2024-06-13T00:00:00
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June 13, 2024
|
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https://images.squarespace-cdn.com/content/v1/63ed041022914e3ac9e5d601/2aa46ad1-9095-43be-9c63-cbc11352fd5d/favicon.ico?format=100w
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Little Saint
|
https://littlesainthealdsburg.com/happenings/live-at-little-saint-connor-pledger-w8taw
|
Sir Kahil El’Zabar, was Knighted by the Council General of France for his Global contributions to the Arts. He has performed with luminaries like, Dizzy Gillespie, Cannonball Adderley, Pharoah Sanders, Nina Simone, Stevie Wonder, Archie Shepp, Eddie Harris, Donny Hathaway, Paul Simon, Ntozake Shange, Nona Hendryx, Neneh Cherry, Lester Bowie, Hamiet Bluiett, Malachi Favors, Billy Bang, Gene Ammons, to name a few. He was Appointed by Pres. Bill Clinton to the National Task Force for Arts Presenting in Education. He won the International Ambassador Award from Pres. Barack Obama’s Administration. El’Zabar, Has recorded over 100 acclaimed projects, and founded and leads the legendary Ethnic Heritage Ensemble and Ritual Trio.
David Murray is considered to be the most influential tenor saxophonist of his generation. He has recorded more than 300 acclaimed projects. He has worked with many of the giants, such as Max Roach, Charles Mingus, Cecil Taylor, Jack DeJohnette, Chico Hamilton, Elvin Jones, Archie Shepp, Pharoah Sanders, Randy Weston, the list goes on. He is co founder of the World Saxophone Quartet, and leads the famed David Murray Quartet, David Murray Octet, and the David Murray Big Band. Dr. Murray was awarded a PHD in the Arts from Claremont College, and is also a Guggenheim Fellow and a Fulbright Scholar. Mr. Murray has won 2 Grammys and is the prestigious recipient of the Jazz Par Award from the country of Denmark.
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https://www.imdb.com/name/nm0614903/
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David Murray
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[] |
[] |
[
"David Murray"
] | null |
[
"IMDb"
] | null |
David Murray. Actor: G.I. Joe - Geheimauftrag Cobra. David Murray was born on 7 February 1970 in Cork, Ireland. He is an actor, known for G.I. Joe - Geheimauftrag Cobra (2009), Batman Begins (2005) and King Arthur (2004).
|
en
|
IMDb
|
https://www.imdb.com/name/nm0614903/
|
David Murray was born on 7 February 1970 in Cork, Ireland. He is an actor, known for G.I. Joe - Geheimauftrag Cobra (2009), Batman Begins (2005) and King Arthur (2004).
|
|||||
9048
|
dbpedia
|
2
| 40
|
https://www.stratfordsymphony.ca/Artist_Bio_-_David_Murray/
|
en
|
Stratford Symphony Orchestra
|
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[
"Stratford Symphony Orchestra"
] | null |
[
"Stratford Symphony Orchestra"
] | null |
The Stratford Symphony Orchestra is a musical organization based in Stratford, Ontario. Its the only professional orchestra in Perth County. Seasons run July 1st to June 31. July 1, 2023 marks the start of the Symphonys 19th season.
|
en
|
https://www.stratfordsymphony.ca/favicon.ico
| null |
David Murray
Pianist
David Murray was born and raised in New Hamburg, Ontario where his family was in the retail grocery and clothing business. His mother taught piano and was the church organist, while his father enjoyed playing trumpet in the town band.
David started taking piano lessons at age 7 and continued until he entered university to study music 10 years later. After two years of study, he realized that he didn’t want a career in music. While working in the restaurant business, he met his future wife, Annamarie, the daughter of dairy farmers near Mitchell, Ontario, who introduced him to the dairy business. Soon after getting married they travelled to Switzerland where they worked and toured in Europe for two years. Upon their return, David enrolled at the University of Guelph where he received his Associate Diploma in Agriculture. In 1986, they joined Annamarie’s parents on the farm and then took over the business in 1996. Recently retired from farming, David volunteered with the Stratford Symphony Orchestra as the Office Manager before being appointed in July 2018 as the SSO’s Administrative Director. He serves on the Board of a local Long Term Care facility and really enjoys working as a collaborative pianist and an accompanist with the Perth County Players.
|
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9048
|
dbpedia
|
0
| 9
|
https://intaktrec.bandcamp.com/album/seriana-promethea-2
|
en
|
DAVID MURRAY BRAVE NEW WORLD TRIO with Brad Jones and Hamid Drake
|
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[
""
] | null |
[] |
2022-05-20T00:00:00+00:00
|
Seriana Promethea by DAVID MURRAY BRAVE NEW WORLD TRIO with Brad Jones and Hamid Drake, released 20 May 2022
1. Seriana Promethea
2. Necktar
3. Metouka Sheli (Ballade for Adrienne)
4. Rainbows for Julia
5. Switchin' in the Kitchen
6. Anita et Annita
7. If you Want me to Stay
8. Am Gone Get Some
Intakt CD 381
David Murray is a giant of modern jazz. His saxophone fuses all the great things that black music has produced: Gospel sounds, free jazz, Afro-Caribbean, blues and soul as well as the beautiful stan- dards of classic jazz. Murray's colorful tone, unsurpassed intonation, flair for swing, melancholy tones, and improvisational power and ingenuity make him one of the most important voices in music today. The newly formed Brave New World Trio congregates style-setting jazz greats with bassist Brad Jones and drummer Hamid Drake. Together they draw from the African-American tradition as well as from other cultures and with Seriana Promethea they present an impressive musical statement. ”The result shows the intuitive level of understanding achieved. Having reached in his mid-60s a level of technical mastery where a musician ‘can play every note that he hears,‘ Murray saw this pianoless trio as not just a way to keep the notes flowing, but a catalyst for total freedom: that rare configuration that allows him to deliver, through the saxophone, “my most free expression of myself”, writes Derek Schilling in the liner notes.
Reviews: www.intaktrec.ch/rev381.htm
|
en
|
Intakt Records
|
https://intaktrec.bandcamp.com/album/seriana-promethea-2
|
supported by 42 fans who also own “Seriana Promethea”
go to album
supported by 40 fans who also own “Seriana Promethea”
go to album
supported by 38 fans who also own “Seriana Promethea”
go to album
|
|||||
9048
|
dbpedia
|
2
| 83
|
https://www.rhizomedc.org/new-events/2024/6/3/the-golden-seas-duo-with-kahil-elzabar-and-david-murray
|
en
|
The Golden Sea Duo with Kahil El'Zabar and David Murray — Rhizome DC
|
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[] |
[] |
[
""
] | null |
[] |
2024-06-03T00:00:00
|
Monday June 3rd * 7pm * $30 admission in advance/$40 at the door. Student/low-income tickets: $20-25 sliding scale in advance * TICKETS This classic inspiring duo returns to Rhizome. Join us for an evening of great music. Sir Kahil El’Zabar was Knighted by the Council General of France for
|
en
|
https://assets.squarespace.com/universal/default-favicon.ico
|
Rhizome DC
|
https://www.rhizomedc.org/new-events/2024/6/3/the-golden-seas-duo-with-kahil-elzabar-and-david-murray
|
Monday June 3rd * 7pm * $30 admission in advance/$40 at the door. Student/low-income tickets: $20-25 sliding scale in advance * TICKETS
This classic inspiring duo returns to Rhizome. Join us for an evening of great music.
Sir Kahil El’Zabar was Knighted by the Council General of France for his Global contributions to the Arts. He has performed with luminaries like, Dizzy Gillespie, Cannonball Adderley, Pharoah Sanders, Nina Simone, Stevie Wonder, Archie Shepp, Eddie Harris, Donny Hathaway, Paul Simon, Ntozake Shange, Nona Hendryx, Neneh Cherry, Lester Bowie, Hamiet Bluiett, Malachi Favors, Billy Bang, Gene Ammons, to name a few. Dr.El’Zabar, holds a PHD from Lake Forest College in Interdisciplinary Arts. He taught music and interdisciplinary arts at the U. Nebraska/Lincoln, and U. IL/Chicago. He was Appointed by Pres. Bill Clinton to the National Task Force for Arts representing Education. He won the International Ambassador Award from Pres. Barack Obama’s Administration. Kahil El’zabar ,has served on the prestigious boards of the Lila Wallace Readers Digest Fund, The National Endowment of the Arts, and the National Campaign for the Freedom of Expression. He is also the former chairmen of the Association for the Advancement of Creative Musicians (AACM). El’Zabar, Has recorded over 100 acclaimed projects, and founded and leads the legendary Ethnic Heritage Ensemble and Ritual Trio.
David Murray is considered to be the most influential tenor saxophonist of his generation. He has recorded more than 300 acclaimed projects. He has worked with many of the giants, such as Max Roach, Charles Mingus, Cecil Taylor, Jack DeJohnette, Chico Hamilton, Elvin Jones, Archie Shepp, Pharoah Sanders, Randy Weston, the list goes on. He is co-founder of the World Saxophone Quartet, and leads the famed David Murray Quartet, David Murray Octet, and the David Murray Big Band. Dr. Murray was awarded a PhD in the Arts from Claremont College, and is also a Guggenheim Fellow and a Fulbright Scholar. Mr. Murray has won 2 Grammys and is the recipient of the prestigious Jazz Par Award from the country of Denmark.
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This is a discography of David Murray albums and albums by other musicians that feature David Murray
David Murray was a founder member of the World Saxophone Quartet and plays on all their recordings. These recordings are listed on the World Saxophone Quartet page.
3D Family, David Murray, 1978, hat Hut HAT U/V
Tracks : In Memory Of Jo Mo Kenyatta, Patricia, 3D Family (For Walter P. Murray), P-O In Cairo (For James Newton In N.Y.), Shout Song (For Cecil Taylor)
Musicians : David Murray, Johnny Dyani, Andrew Cyrille
A double LP of music recorded live at Willisau Jazz Festival in September 1978. Subsequently reissued on hatARt and hatOLOGY.
Conceptual Saxophone, David Murray, 1978, Cadillac
Tracks : Feeling Stupid, Come Sunday, The Parade Never Stops, Home, Flowers For Albert
Musicians : David Murray
Recorded live in Paris in February 1978.
Organic Saxophone, David Murray, 1978, Palm
Tracks : Body And Soul, Chant Pour Une Nouvelle Afrique Du Sud, Ballad For Matthew And Maia Garrison, Hope / Scope, All The Things You Are, The Promenade Never Stops, Monica In Monk's Window
Musicians : David Murray
Recorded live in Paris in February 1978.
The London Concert, David Murray, 1979, Cadillac
Tracks : Jas Van (For James VanDerzee), Home (Part 1), Secret Of The Circle, Home (Part 2), Murray's Steps, Concion De Amor En Espanol (Spanish Love Song)
Musicians : David Murray, Lawrence "Butch" Morris, Curtis Clark, Brian Smith, Clifford Jarvis
Recorded live in London in August 1978.
3D Family, Vol. 1, David Murray, 1983, hat MUSICS 3516
Tracks : In Memory Of Jo Mo Kenyatta, Patricia Part 1, Patricia Part 2, P-O In Cairo (For James Newton In N.Y.)
Musicians : David Murray, Johnny Dyani, Andrew Cyrille
A single LP of music recorded live at Willisau Jazz Festival in September 1978. Originally released as part of a double LP (hat HUT U/V) in 1978. Subsequently reissued on hatARt and hatOLOGY.
A Sanctuary Within, David Murray Quartet, 1992?, Black Saint 0145
Tracks : Short And Sweet, Mountain Song, Return Of The Lost Tribe, Waltz To Heaven (Dedicated To My Aunt Helen Murray), A Sanctuary Within: Part I (Duo), A Sanctuary Within: Part II (Quartet), Most Of All, Song For New South Africa, Ballad For THe Blackman
Musicians : David Murray, Tony Overwater, Sunny Murray, Kahil El'Zabar
Love and Sorrow, David Murray Quartet, 1995, DIW
Tracks : You'd Be So Nice to Come Home To, Old Folks, Forever I Love You, Sorrow Song (For W.E.B. Dubois), A Flower Is a Lovesome Thing, You Don't Know What Love Is
Musicians : David Murray, John Hicks, Fred Hopkins, Idris Mohammad
Seasons, David Murray Quartet, 1998, Pow Wow
Tracks : Seasons, Spring Will Be A Little Late This Year, Spring Is Here, The Summer Knows, Indian Summer, September Song, Autumn In New York, September In The Rain, Snowfall, Let It Snow! Let It Snow! Let It Snow!
Musicians : David Murray, Roland Hanna, Richard Davis, Victor Lewis
Speaking in Tongues, David Murray, 1999, Justin Time
Tracks : How I Got Over, Nobody Knows the Trouble I've Seen, Jimane's Creation, Missionary, Don't Know What I Would Do, Amazing Grace, Blessed Assurance, A Closer Walk With Thee
Musicians : David Murray, Fontella Bass, Hugh Ragin, Jimane Nelson, Stanley Franks, Clarence 'Pookie' Jenkins, Ranzell Merritt, Leopoldo F. Fleming
Rendezvous Suite, David Murray & Jamaaladeen Tacuma, 2011, Jazzwerkstatt
Tracks : Rendezvous - The Opening, Hotel Le Prince - Movement 1, Theme On A Dream - Movement 1, Bring It On, How Sensitive, Theme On A Dream - 80's Downtown - Movement 2, Theme On A Dream - Who's That Ringing? - Movement 3, Hotel Le Prince - Movement 2, Yes We Can, Rendezvous - The Ending
Musicians : David Murray, Jamaaladeen Tacuma
The London Concert, David Murray, 2012?, Cadillac SGCCCCD 1008/9
Tracks : JasVan, Home, Secret Of The Circle, Nairobia, Flowers For Albert, Murray's Steps, Conciõn De Amor En Español
Musicians : David Murray, Lawrence "Butch" Morris, Curtis Clark, Brian Smith, Clifford Jarvis
Recorded live in London in August 1978. Some of this music was originally released by Cadillac on a double LP in 1979.
Live At The Lower Manhattan Ocean Club Volumes 1 & 2, David Murray, 1989, India Navigation
Tracks : Nevada's Theme, Bechet's Bounce, Obe, Let The Music Take You, For Walter Norris, Santa Barbara And Crenshaw Follies
Musicians : David Murray, Lester Bowie, Fred Hopkins, Phillip Wilson
Recorded live in New York City in December 1977. Originally released on two separate LPs in 1978 and 1979.
Solo Live, David Murray, 1997, CECMA 1001
Tracks : Both Feet On The Ground, B. C., Rag Tag, Sweet Lovely, Flowers For Albert, Body And Soul, We See, Untitled, Solo #1, Solo #2
Musicians : David Murray
Recorded live in Nyon in May 1980. Originally released on two separate LPs in 1980.
Cherry Sakura, Aki Takase / David Murray, 2017, Intakt 278
Tracks : Cherry-Sakura, A Very Long Letter, Let's Cool One, To A.P. Kern, Stressology, Nobuko, Blues For David, A Long March To Freedom
Musicians : Aki Takase, David Murray
Recorded at Studio SRF in Zürich on April 30, 2016.
Sentiments, Synthesis, 1979, Reality Unit Concepts
Tracks : Back From Where You Came, Flowers For Albert, Sentiments For The New World Patriots, A Woman Is Such A Lovely Being, Sentiments For The African Patriots
Musicians : Olu Dara, Arthur Blythe, David Murray, Ken Hutson, Rahsaan
Music For The Texts Of Ishmael Reed, Conjure, 1984, American Clave
Tracks : Jes' Grew, The Wardrobe Master Of Paradise, Dualism, Oakland Blues, Skydiving, Judas, Betty Ball's Blues, Untitled II, Fool-Ology (The Song), From The Files Of Agent 22, Dualism, Rhythm In Philosophy
Musicians : David Murray plays on most of the tracks of this album.
Vertical's Currency, Kip Hanrahan, 1985, American Clave
Tracks : A Small Map Of Heaven, Shadow Song (Mario's In), Smiles And Grins, Two Heartedly, To The Other Side, Chances Are Good (Baden's Distance), Make Love 2, One Casual Song (After Another), Intimate Distances (Jack's Margrit's Natasha), Describing It To Yourself As Convex, What Do You Think? That This Mountain Was Once Fire?, Dark (Kip's Tune)
Musicians : Kip Hanrahan, Lew Soloff, Richie Vitale, David Murray, Mario Rivera, Andrieau Jeremie, Ned Rothenberg, Peter Scherer, Arto Lindsay, Elysee Pyronneau, Steve Swallow, Jack Bruce, Ignacio Berroa, Anton Fier, Milton Cardona, Puntilla Orlando Rios, Frisner Augustin, Olufemi Claudette Mitchell
Days And Nights Of Blue Luck Inverted, Kip Hanrahan, 1987, American Clave
Tracks : Love Is Like A Cigarette, A Poker Game; Luck Inverts Itself; Four Swimmers, Gender, Marriage, American Clave, A Model Bronx Childhood, Ah, Intruder (Female), Lisbon; Blue Request, My Life Outside Of Power, Road Song, The First And Last To Love Me (2 December), Unobtainable Days; Unobtainable Nights
Musicians : Kip Hanrahan, Jerry Gonzalez, Lew Soloff, David Murray, George Adams, John Stubblefield, Charles Neville, Rolando Napolean Briceno, Mario Rivera, Pablo Ziegler, Peter Scherer, Leo Nocentelli, Alfredo Triff, Andy Gonzalez, Jack Bruce, Steve Swallow, Fernando Saunders, Ignacio Berroa, Robbie Ameen, Willie Green, Giovanni Hidalgo, Anton Fier, Milton Cardona, Puntilla, Carmen Lundy
Blues for Coltrane: A Tribute to John Coltrane, McCoy Tyner, 1988, Impulse!
Tracks : A Small Map Of Heaven, Shadow Song (Mario's In), Smiles And Grins, Two Heartedly, To The Other Side, Chances Are Good (Baden's Distance), Make Love 2, One Casual Song (After Another), Intimate Distances (Jack's Margrit's Natasha), Describing It To Yourself As Convex, What Do You Think? That This Mountain Was Once Fire?, Dark (Kip's Tune)
Musicians : McCoy Tyner, David Murray, Pharoah Sanders, Cecil McBee, Roy Haynes
Cab Calloway Stands In For The Moon, Conjure, 1988, American Clave
Tracks : The Author Reflects On His 35th Birthday, Loup Garou Means Change Into, 'Sputin, Nobody Was There, Medley: General Science / Ish / Papa La Bas, Running For The Office Of Love (Prelude), My Brothers, Running For The Office Of Love, Petit Kid Everett, St. Louis Women (Excerpts), Bitter Choclate, Beware: Don't Listen To This Song
Musicians : Kip Hanrahan, Olu Dara, Hamiet Bluiett, Lenny Pickett, David Murray, Eddie Harris, Don Pullen, Allen Toussaint, Elysee Pyronneau, Johnny Watkins, Leo Nocentelli, Steve Swallow, Fernando Saunders, Ignacio Berroa, Robbie Ameen, Frisner Augustin, Manenquito Giovanni Hidalgo, Milton Cardona, Bobby Womack, Clare Bathé, Diahnne Abbott, Grayson Hugh, Ishmael Reed, Robert Jason, Shaunice Harris, Tennessee Reed
Plays J.B., Cold Sweat, 1989, JMT
Tracks : Brown's Prance, Give It Up Or Turnit A Loose, It's A Man's World, I Got The Feelin', Brown's Dance, Showtime Medley : Funky Good Time/I Got The Feelin'/I Can't Stand It/Licking Stick/There Was A Time, Please, Please, Please, Try Me, Cold Sweat
Musicians : Craig Harris, Eddie Allen, Olu Dara (tracks 2 & 7), Kenny Rogers, Booker T. Williams, Arthur Blythe (tracks 2 & 3), David Murray (tracks 5 & 9), Brandon Ross, Fred Wells, Clyde Criner, Alonzo Gardner, Damon Mendez, Kweyao Agyapon, Kenyatte Abdur-Rahman (track 6), Sekou Sundiata (tracks 2 & 6)
Released on CD by Winter & Winter in 2002 with a different cover design.
Where You Lay Your Head, Bill Cosby And Friends, 1990, Verve Polygram
Tracks : Ursalina, Where You Lay Your Head, Mouth Of The Blowfish, Four Queens And A King, Why Is It I Can Never Find Anything in the Closet (It's Long But it's Alright)
Musicians : Bill Cosby, David Murray, Don Pullen, Harold Vick, Odean Pope, Harold Mabern, Sonny Bravo, Stu Gardner, John Scofield, Sonny Sharrock, Mark Egan, Al Foster, Jack DeJohnette
Silvershine, Andy Hamilton and the Blue Notes, 1991, World Circuit
Tracks : Andy's Blues, I Guess I'll Have to Change My Plan, You Are Too Beautiful, Old Folks, I Can't Get Started, Silvershine, Autumn Groove, Uncle Joe, Silvershine (Reprise)
Musicians : Andy Hamilton, Graeme Hamilton, Sam Brown, Ralf De Cambre, Ray 'Pablo' Brown, Johnny Hoo, Mark Mondesir, Andy Sheppard (track 1), Steve Williamson (track 1), Jean Toussant (tracks 1 & 8), David Murray (tracks 4 & 6), Orphy Robinson (tracks 1 & 5), Jason Rebello (track 7), Nana Tsiboe (track 6), Mamdi Kamara (track 8), Mick Hucknall (track 3)
Softly I Sing, Teresa Brewer, 1991, Red Baron
Tracks : In The Wee Small Hours Of The Morning, If I Had You, Teach Me Tonight, It's The Talk Of The Town, But Not For Me, Skylark, Blue Moon, Misty, Time After Time, Don't Blame Me
Musicians : Teresa Brewer, David Murray, Kenny Barron, Ron Carter, Grady Tate
Curves of Life, Steve Coleman and Five Elements, 1995, BMG
Tracks : Multiplicity Of Approaches (The African Way Of Knowing), Country Bama, The Streets, Round Midnight, Drop Kick Live, The Gypsy, I'm Burnin Up (Fire Theme)
Musicians : Steve Coleman, Andy Milne, Reggie Washington, Gene Lake, David Murray (tracks 2 & 7), Sub Zero (tracks 2 & 7), Black Indian (track 7), Koyaki (track 7)
Recorded live at the Hot Brass Club in Paris in March 1995.
The Colossal Saxophone Sessions, Various Artists, 1995, Evidence
Tracks : Devil's Island (Lee Konitz / John Zorn), Bamboo (Archie Shepp / David Murray), My Little Brown Book (Archie Shepp), Spoonin' (David Murray), In a Sentimental Mood (Lee Konitz / Frank Morgan / Donald Harrison), Footprints (Frank Morgan), Four (Donald Harrison), Tu-Way-Pack-E-Way (Lee Konitz / Frank Morgan / Dave Liebman / David Murray / Donald Harrison), Why Try to Change Me Now (Dave Liebman), Blues for JC (Phil Woods / Houston Person / Dave Liebman / Bennie Wallace / Steve Coleman / Craig Bailey), Blues for 52nd Street (Lee Konitz / Frank Morgan / Archie Shepp / David Murray / Donald Harrison / John Zorn), Like Someone in Love (Lee Konitz), Promptus (John Zorn), King Tut (Dave Liebman / Bennie Wallace / Steve Coleman), Bemsha Swing (Dave Liebman), Quasi Enni (Steve Coleman), Flamingo (Bennie Wallace), There Is No Greater Love (Houston Person), Goodbye Mr. Evans (Phil Woods), Blues for JC (Phil Woods / Houston Person / Dave Liebman / Bennie Wallace / Steve Coleman / Craig Bailey)
Antiquated Love, Özay, 1996, Basic
Tracks : Antiquated Love, Ancient Dancer, Intuitively, En Güzel Deniz, Without Rhyme Or Reason, I See Your Face Before Me, I Thought About You, Peaceful Heart/Gentle Spirit, Istanblue
Musicians : Özay, David Murray, Chico Freeman, D.D. Jackson, Kirk Lightsey, Billy Bang, Calvin Jones, Pheeroan AkLaff
Probably subsequently released in 2011 as David Murray & Chico Freeman with Özay.
Illadelph Halflife, The Roots, 1996, DGC / Geffen
Tracks : Intro, Respond/React, Section, Panic!!!!!!!, It Just Don't Stop, Episodes, Push Up Ya Lighter, What They Do, ? Vs. Scratch (The Token DJ Cut), Concerto Of The Desperado, Clones, Universe At War, No Alibi, Dave Vs. Us, No Great Pretender, The Hypnotic, Ital (The Universal Side), One Shine, The Adventures In Wonderland, Outro
Musicians : David Murray plays on one track of this album
Ode to the Living Tree, Andrew Cyrille Quintet, 1997, Evidence
Tracks : Coast To Coast, A Love Supreme: Acknowledgement And Resolution, Mr. P.C., Ode To The Living Tree, Dakar Darkness, So That Life Can Endure..., P.S. With Love, Midnight Samba, Water, Water, Water
Musicians : Andrew Cyrille, David Murray, Oliver Lake, Adegoke Steve Colson, Fred Hopkins, Mor Thiam (tracks 1 & 8)
Recorded in Senegal in December 1994. Possibly also released with the title African Love Supreme.
Paired Down Volume Two: Duo Collaborations, D.D. Jackson, 1997, Justin Time
Tracks : Catch It, One Of The Sweetest, Flute-Song, Pleasure And Pain, Peace Of Mind, Love-Song, Time, Interlude, Closing Melody
Musicians : D.D. Jackson, Ray Anderson (tracks 1, 8 & 9), Jane Burnett (track 3), Don Byron (track 7), Santi Debriano (track 2), Billy Bang (track 4), David Murray (tracks 5 & 6)
An Afternoon in Harlem, Hugh Ragin, 1999, Justin Time
Tracks : An Afternoon In Harlem, Not A Moment Too Soon, Braxton's Dues, The Moors Of Spain, Wisdom And Overstanding, In The Light At The End Of The Underground Railroad, When Sun Ra Gets Blue
Musicians : Hugh Ragin, David Murray (track 6 & 7), Craig Taborn, Jaribu Shahid, Bruce Cox, Andrew Cyrille (track 6 & 7), Amiri Baraka
Standards And Other Stories..., Sarah Morrow, 2002, RDC Records
Tracks : Intro, Leaving Home, Thoughts Of You, Anthropology (Bebop Medley), A Night In Tunisia, It's Getting Late Now (Lullaby For Dad), Do Nothin' Till You Hear From Me, Tisha's Dance (With Spideyman), Well You Needn't, You Stepped Out Of A Dream, Whims Of Chambers, Moanin'
Musicians : Sarah Morrow, Steve Lefebvre, David Murray, Jesse Davis, Victor Atkins, Clarence Seay, Donald Edwards, Anne Ducros
Bearcat, Ya Ya Fornier, 2003, Random Chance Records
Tracks : Bearcat, Voice Of The Saxophone, Dont Get Around Much Anymore, Live The Life, When The Monarchs Come To Town, Chant De La Montange, Armando, New York Nights
Musicians : Ya Ya Fornier, David Murray, Sweet Sue Terry (tracks 2 & 3), Rod Williams (tracks 1, 2, 3, 4 & 6), Craig Taborn (tracks 5, 7 & 8), Jaribu Shahid, Tani Tabbal (tracks 1, 2, 3, 4 & 6), Gerald Cleaver (tracks 5, 7 & 8), Asson, percussion (tracks 5, 7 & 8)
Rhapsodies, Anthony Brown's Orchestra, 2005, Water Baby
Tracks : Prelude To The Legacy Codes, Bread & Bowie (For Lester), Self Portrait In Three Colors, Rhapsody In Blue / American Rhapsodies: Exposition / Rumba / Recap / Gagaku / Scherzando / Andantino / Adagio / Taiko Trane / Finale, Take Me Out To The Ball Game, Tang, Comes Sunday, Anthem / Baile De La Orisha, Rhymes (For Children)
Musicians : David Murray plays on Bread & Bowie
Possible Universe (Conduction 192), Lawrence D. "Butch" Morris, 2014, Nu Bop NBR/SA Jazz 014
Tracks : Possible Universe...: Part One / Part Two / Part Three / Part Four / Part Five / Part Six / Part Seven / Part Eight
Musicians : Lawrence D. "Butch" Morris, Riccardo Pittau, Meg Montgomery, Joe Bowie, Tony Cattano, Evan Parker, David Murray, Greg Ward, Pasquale Innarella, Alan Silva, Jean-Paul Bourelly, On Ka'a Davis, Harrison Bankhead, Silvia Bolognesi, Chad Taylor, Hamid Drake
See You Out There, Dave Gisler Trio With Jaimie Branch And David Murray, 2022, Intakt 378
Tracks : Bastards On The Run, Can You Hear Me?, See You Out There, The Vision, Get It Done, Medical Emergency, What Goes Up..., High As A Kite, Get A Döner, Better Don't Fuck With The Drunken Sailor
Musicians : Dave Gisler, Raffaele Bossard, Lionel Friedli, Jaimie Branch, David Murray
|
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Join us for a FREE Masterclass with Saxophonist Patrick Bartley! When: Tuesday, April 23rd at 2:00 PM CDT Where: University of Central Oklahoma Jazz Lab...
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Join us for a FREE Masterclass with Saxophonist Patrick Bartley!
When: Tuesday, April 23rd at 2:00 PM CDT
Where: University of Central Oklahoma Jazz Lab...
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https://www.facebook.com/ucojazzlab/videos/saxophonist-patrick-bartley-masterclass/779152057687628/
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https://en.wikipedia.org/wiki/List_of_jazz_saxophonists
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en
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List of jazz saxophonists
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/List_of_jazz_saxophonists
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Jazz saxophonists are musicians who play various types of saxophones (alto saxophone, tenor saxophone, baritone saxophone etc.) in jazz and its associated subgenres. The techniques and instrumentation of this type of performance have evolved over the 20th century, influenced by both movements of musicians that became the subgenres and by particularly influential sax players who helped reshape the music.
In the 1930s, during the swing and big band era, saxophonists like altoist Johnny Hodges, who led the saxophone section in the Duke Ellington Big Band, were featured soloists in a highly structured system of playing where such solos were limited moments of musical freedom.
In the early 1940s, jazz saxophonists such as Charlie Parker (alto, tenor) and Sonny Stitt (alto, tenor) led a rebellion against the strictures of big band jazz, shifting away from danceable popular music towards a more challenging "musician's music" that would come to be called bebop, with solos that included more chromaticism and dissonance. Charlie Parker is particularly noted for his groundbreaking solo techniques that is still widely admired today. He was credited to be one of the major influences of the bebop movement.
In the 1950s, sax players like tenor saxophonist John Coltrane and Sonny Rollins broke new ground in jazz, infusing their music with rhythm and blues, modal, Latin and gospel influences as part of the hard bop subgenre.
In the 1950s and 1960s, free jazz pioneers such as Ornette Coleman and Albert Ayler developed unusual new sounds and playing styles.
In the early 1960s, Woody Herman's lead "(Four) Brother", Stan Getz, played cool jazz with Brazilian musicians in the emerging bossa nova style. Getz was known for his rich tone, ability to swing and impeccable technique.
In the 1970s, fusion jazz blended rock and jazz, with saxophonists like Wayne Shorter and Michael Brecker at the front of that movement.
In the 1980s, smooth jazz saxophonists such as Kenny G (Kenny Gorelick, soprano, alto, tenor), Bob Mintzer (tenor) and David Sanborn (alto, soprano) played a radio-friendly style of fusion called smooth jazz. Other notable smooth jazz saxophonists include Dave Koz, Jeff Kashiwa, and Brandon Fields.
In the 1990s and 2000s, Joshua Redman (born 1969, tenor, soprano, alto) and Chris Potter (tenor, soprano) returned to a more traditional approach which harked back to the saxophone greats of the 1950s and 1960s. Jazz saxophonist Greg Abate continues to keep bebop alive on the alto, soprano, tenor, baritone as well as the flute.
Notable jazz saxophonists include:
Ike Quebec (1918–1963) (tenor)
Paul Quinichette (1916–1983) (tenor)
Jazz portal
Music portal
List of saxophonists
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https://birdbeckett.com/david-murray-kahil-elzabar-duo/
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Kahil El’Zabar Duo – Bird & Beckett Books & Records
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2019-03-24T00:00:00
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en
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https://birdbeckett.com/david-murray-kahil-elzabar-duo/
|
The return of the mighty David Murray and the miraculous Kahil El’Zabar.
People get ready!
We are pleased and honored to present a return engagement by one of the towering jazz figures of our time, saxophonist David Murray, playing in a duo format with his esteemed colleague of three decades, the Chicago-based percussionist Kahil El’Zabar. Messrs. Murray and El’Zabar last performed as a duo at Bird & Beckett in April of 2017.
Doors at 7:30pm; Showtime 8:00pm.
Two 50-minute sets ending at 10pm.
On the day of the show, at 7pm, we will sell 10 seats at $30 each
plus 15 standing room tickets at $25 each. Cash only, please.
(24 tix were sold in advance on June 1.)
Capacity is 49 (35 seated).
BYOB.
Call 415-586-3733 for information.
No advance reservations will be taken.
Thanks for your consideration!
A founding member of the World Saxophone Quartet, David Murray is an American jazz musician who mainly plays tenor saxophone and bass clarinet. He was initially influenced by free jazz musicians such as Albert Ayler and Archie Shepp and evolved a more diverse style in his playing and compositions. Murray set himself apart from most tenor players of his generation by not taking John Coltrane as his model. He has recorded prolifically for many record labels since the mid-1970s. He was named Village Voice Musician of the Decade, and was awarded the Guggenheim Fellowship, the Grammy, and the Danish Jazzpar Prize. He has visited Pittsburgh performing with the World Saxophone Quartet courtesy of City of Asylum, as well as with the Ritual Trio featuring El-Zabar and Harrison Bankhead.
Kahil El’Zabar is one of Chicago’s jazz treasures. A member of the AACM, music holds no boundaries for El’Zabar, who has not only played alongside a myriad of jazz greats, but was in the bands of Stevie Wonder, Cannonball Adderley, Dizzy Gillespie, and Nina Simone (who he also designed clothes for), as well as recording with rock bands like Sonia Dada and Poi Dog Pondering. He was also chosen to do the arranging for the stage performances of The Lion King, in addition to leading his own longstanding Ethnic Heritage Ensemble and Ritual Trio. The son of a drummer, El’Zabar took to music at an early age, and was playing with members of the Art Ensemble of Chicago by his teens. He started the Ethnic Heritage Ensemble upon his return from Africa in 1973, and while the lineup has changed over time, they are still an active group. He has also released a great many albums under his own name, including a long-running relationship with Chicago’s great Delmark label. Kahil El’Zabar is not just a master percussionist- his efforts as a musician, educator, and community leader led to being named “Chicagoan of the year” in 2004 by the Chicago Tribune.
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Listen to music by David Murray on Apple Music. Find top songs and albums by David Murray including Plumb, 3-D Family and more.
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https://www.famousbirthdays.com/people/david-murray.html
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David Murray - Age, Family, Bio
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David Murray: his birthday, what he did before fame, his family life, fun trivia facts, popularity rankings, and more.
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Famous Birthdays
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About
Founder of the World Saxophone Quartet known for his circular breathing technique during his performances.
Before Fame
He started off invoking the free jazz aesthetic but moved towards a playing style heavily influenced by Coleman Hawkins and other more commercial jazz musicians.
Trivia
He was the recipient of a Guggenheim Fellowship in 1989.
Family Life
He was born and raised in Oakland, California.
Associated With
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https://www.classical-music.com/features/jazz/greatest-jazz-saxophonists-ever
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The 25 best jazz saxophonists of all time, ranked - and the albums you need to add to your library now
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Best jazz saxophonists: here is a definitive list of the greatest players ever to have picked up a sax and let rip
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A musician playing the saxophone is one of the most iconic images of jazz music, and one of the genre's most iconic sounds. Here are the best jazz saxophonists ever*...
Six of the best: jazz cameos in pop
Five of the best: celebrity saxophonists
Read the latest reviews of jazz recordings here
* In a genre that's defined by individual styles, is it even possible to describe one saxophonist as being 'better' than another? One way of thinking about it is in terms of influence: how important an individual has been in the music's overall development and the extent to which an individual player's approach can be heard in the music of those who came after them. This list, then, aims to rank 25 incredible saxophonists in terms not just of their visionary and virtuosic qualities, but also in terms of their influence on the wider jazz landscape. With that in mind, it seems only right to begin with...
The best jazz saxophonist of all time
1. John Coltrane (1926-1967)
Leading our list of best jazz saxophonists is a name you will surely know.
It’s hard to convey the impact John Coltrane’s My Favorite Things made on its release in 1961. The title track caused a sensation. Coltrane’s quartet transformed an innocuous waltz from The Sound of Music into a kind of cosmic vision, with the leader’s soprano saxophone wailing like an eerie call to prayer over pianist McCoy Tyner’s hypnotic modal chords, Steve Davis’s ostinato bass and Elvin Jones’s relentlessly seething drums.
This was a bold alternative to conventional improvisation which was still largely based on standard chord structures over a beat. Just when the intellectual intricacies of bebop seemed exhausted, along came Coltrane, spearheading the way back to pure emotion.
My Favorite Things proved prophetic for more than just the future of jazz. Its Eastern-sounding timbre and trance-inducing length perfectly suited the rock culture of the ’60s and helped encourage the rise in popularity of world music. In jazz, Coltrane’s harmonic daring gave impetus to the trend toward free improvisation.
'It shows Coltrane at a key stage of a lifelong spiritual quest'
But aside from its significance as a cultural moment, My Favorite Things retains its importance as a work of art, and a testament to Coltrane’s gifts and commitment. The album shows him at a key stage of a lifelong spiritual quest, expressed in his musical development. His legion of imitators often overlooked the technical command that informed his improvisations. He practised endlessly: among saxophonists he was known as ‘an eight-or-ten-hour-a-day man’. And no one in jazz knew more about chord structure, or could negotiate them with greater fluency.
Coltrane’s purpose was not to subvert form, but to extend its possibilities; the other tracks on My Favorite Things demonstrate his invention in more conventional material. On tenor, there’s a searing version of ‘Summertime’ and an angular reworking of ‘But Not For Me’; on soprano, a yearning ‘Every Time We Say Goodbye’, in which Coltrane’s lyricism recalls the man he dubbed ‘the world’s greatest saxophone player’, Duke Ellington’s nonpareil altoist Johnny Hodges.
My Favorite Things marks a pinnacle both in the jazz tradition and in the career of one of its great masters.
The John Coltrane album you need
My Favorite Things (1961, Atlantic)
Best jazz saxophonists: 2 to 5
2. Charlie Parker (1920-1955)
It’s been said that modern jazz began with Charlie ‘Bird’ Parker. Though that statement clearly over-simplifies things, the alto saxophonist did make the greatest impact of all the players who, from the early 1940s, transformed jazz with the style known as bebop. Arriving in New York from Kansas City, the young Bird amazed his contemporaries with his blazing technique and protean imagination, supplanting the simple rhythmic and harmonic patterns of earlier jazz with extended sequences, daring and complex. As Parker sideman John Lewis put it, ‘Everything I heard Charlie Parker play was perfect... [it] was like being near fire.’
The exhilaration of discovery, of breathtaking inspiration and brilliant execution, suffuse the records Parker made before his premature death in 1955 (he had an appetite for excess of all kinds, especially drugs). While some of his followers were accused of being coldly technical, turning out sewing-machine lines of notes, a Parker solo always exudes the essential jazz energy, rooted in funky blues and insinuating swing, plus an uncanny, storytelling sense of structure. And, perhaps surprisingly, in view of the complaints of detractors that bebop was discordant and violent, Bird’s music is shot through with an engaging lyricism, no matter what the mood or tempo.
'The perpetual genius of a unique jazz voice'
As with any major artist, exposure to Parker’s work en bloc only heightens respect for his achievement. Hence an eight-CD set of all his recordings from 1944 to 1948 is a treasure trove. But for a single-CD survey, the Ken Burns Jazz disc would be hard to beat. Here is one of the early big band solos which startled the jazz world, examples of the classic quintet sides with fellow-innovator Dizzy Gillespie which made ‘Bird and Diz’ the definitive bop combination, and discs with the altoist’s later group featuring the young Miles Davis.
Also included are the harrowingly poignant ‘Lover Man’ Parker made only hours before a drug-related breakdown and a scintillating ‘Just Friends’ with strings. But every track reveals the perpetual genius of a unique jazz voice. In the words of the graffito that appeared on New York walls after his death, ‘Bird Lives’.
The Charlie Parker album you need
Ken Burns Jazz (2000, Verve)
3. Ornette Coleman (b. 1930)
When Ornette Coleman’s album Free Jazz burst on the scene in 1961, an appalled critic declared ‘the banshees are upon us’. The alto saxophonist was used to hostile reactions. Years before, working with a rhythm and blues band in his native Texas, he had suffered the indignity of being paid not to play. Later, in Los Angeles, musicians had left the stand when he tried to sit in. All the while, though, he remained true to his conviction that ‘jazz should express more kinds of feeling than it has up to now’, which he pursued by ‘working with pitch and reaching for the sound of the human voice’.
By the late 1950s, he had begun to attract the attention of such influential admirers as John Lewis of the Modern Jazz Quartet. Lewis discerned in the altoist’s radical, homespun style not mere subversion but a creative instinct. As Coleman put it, ‘Once I found I could make mistakes, I knew I was on to something.’
'A blues-drenched cry in which vehicle and expression were one'
What he was on to was an alternative to the conventions of bop – the repetitious chord patterns, the rigid division of labour between rhythm section and horns, the unvarying format of theme then solos. In its place, Coleman offered an organic concept which returned to the vocal roots of jazz – a blues-drenched cry in which vehicle and expression were one, generating a melodic line that went wherever the emotion of the moment took it.
Though his approach was called ‘free’, it depended on the finely honed responses of the altoist and his quartet to their material and each other. A good place to begin appreciating that unique interaction is The Shape of Jazz to Come from 1959. Here can be found all the Coleman virtues, including such superb compositions as ‘Lonely Woman’, a yearning portrait of a lady with a rhapsodic melody arching over an agitated cymbal beat and meditative plucked bass.
‘Eventually’ is a bubbly, boppish tune with a jack-in-the-box quality and enormous swing, while ‘Congeniality’ combines bop, blues and lyricism, jagged dissonance and childlike consonance. As always, Coleman’s music conforms not to prescription or expectation, but to his searching, celebrating, wholly original voice.
The Ornette Coleman album you need
The Shape of Jazz to Come (1959, Atlantic)
4. Sonny Rollins (b.1930)
One way or another, Sonny Rollins has been out on his own for half a century. Since the death of John Coltrane in 1967, he has reigned pretty much unchallenged as king of the tenor players. But even while Coltrane was alive, and there was an abundance of formidable talent in jazz’s golden age of the 1950s and ’60s, Rollins stood apart, master of a style of unique, even wilful power.
He was never interested in the approved bebop practice of ‘running the changes’, which threatened to turn jazz into a quasi-mechanical exercise. His angular, energetic attack came from an early love of rhythm and blues and calypso. Fluent or sardonic, his tone could express winey lyricism or hoarse guffaws. He was just as unorthodox in his choice of material, which encompassed vaudeville tunes and Edward MacDowell’s ‘To a Wild Rose’.
'Rollins’s creative stamina is legendary'
Rollins’s creative stamina is legendary. Hour-long medleys and mammoth cadenzas evolved their own logic. Every solo he plays takes on the quality of a personal adventure, embracing both player and audience. At their best, they yield a kind of massive, multi-faceted coherence impossible to predict yet somehow inevitable and utterly fulfilling.
The record which first established Rollins’s reputation – and which he still cites as a favourite – is Saxophone Colossus. Made in 1956, with his then employer Max Roach on drums, plus pianist Tommy Flanagan and bassist Doug Watkins, it remains a classic. The awesome construction of his solo on ‘Blue Seven’ was hailed by a critic as a definitive example of Rollins’s principle of ‘thematic improvisation’. This was not a technique worked out in advance but a kind of supercharged motif development elaborated on the spot. The same artistry illuminates the exuberant calypso ‘St Thomas’ showing the gargantuan sense of swing that he brings to every musical encounter.
In a multitude of moments on other discs and on any given evening, Rollins can create an experience of jazz invention unmatched by anyone alive. For he is still, as the British tenor star Courtney Pine recently put it, ‘the baddest player on the planet’.
The Sonny Rollins album you need
Saxophone Colossus (1956, Prestige)
5. Coleman Hawkins (1904-1969)
There seems to be a curious resistance, in some quarters, to the idea that jazz is a conscious art – that jazz musicians practise and work at their styles over a lifetime, expanding and refining. This is not to deny the importance of spontaneity, but jazz’s famous ‘sound of surprise’ always involves committed preparation, as players cultivate the personal voice they bring to any musical encounter.
A supreme example of that conviction was the tenor king, Coleman Hawkins, once dubbed ‘the man for whom Sax invented the saxophone’. When ‘Hawk’ began his early career in the early 1920s, the sax was a novelty instrument, skittery and staccato. Within a few years, he had not only demonstrated its full expressive potential, but established his own definitive way of playing. His massive tone, supple technique and commanding improvisations reduced would-be rivals to imitators.
'A career virtually unparalleled in its ambition and breadth'
No serious stylistic alternative would emerge for more than a decade and, even then, Hawkins would maintain his eminence. His status reflected both his gifts and his determination to develop them: the Ken Burns CD devoted to him surveys a career virtually unparalleled in its ambition and breadth. In ‘The Stampede’ (1926), with Fletcher Henderson’s band, he is already a master, slashing his way through an uptempo solo as if sculpting in sound. His ballad chorus on ‘If I Could Be With You One Hour Tonight’, in 1929, is astonishingly modern, subsuming chords and barlines into a free, rhapsodic flow.
And a decade later, after a five-year sojourn in Europe, Hawkins set the standard for jazz ballads with ‘Body and Soul’, a masterpiece of harmonic subtlety and storytelling. Younger musicians esteemed him for his musical and personal sophistication, and the interest was mutual. Hawk hired them, making some of the first bop recordings, including ‘Woody’n’You’ with Dizzy Gillespie.
Unprecedented in 1948, the track Picasso is a solo homage to a man the saxophonist admired as a kindred spirit. There is a similarity between Picasso’s ever-shifting perspective and the harmonic quest of Hawkins; and the musician, like the painter, produced a body of work that retains all its dynamic force.
The Coleman Hawkins album you need
Body and Soul (1996, RCA)
Best jazz saxophonists: 6 to 10
6. Eric Dolphy (1928-1964)
Free jazz is a problematic concept. To some people, freedom is the essence of the music, its whole point. To others, jazz is a particular language, informing feeling and creativity, and true musical freedom depends on engaging structures that concentrate expression. Which may be what that radical mover-and-shaker Charles Mingus meant when he growled, ‘You can’t improvise on nothin’, man.’
One of the most compelling answers to the free jazz conundrum was posed by a player who spent part of his all-too-brief career as a Mingus sideman. Eric Dolphy blazed across the scene in the early ’60s, known first as an alto saxist, but also performing with distinction on flute, clarinet and bass clarinet, which he established as a potent jazz instrument. On all his horns he was a dazzling soloist, compounding a brilliant technique and a personal sound, often incorporating vocalised textures – whoops, cries and ecstatic, leaping intervals. Yet even at his most daring, a dynamic form was palpable.
His use of chord structures was striking, when his fellow exponents of what was called ‘the new thing’ were abandoning them. He liked harmonic patterns, adapting them to his own creative purpose. As he put it, ‘I don’t think I “leave the changes” as the expression goes; every note I play has some reference to the chords of the piece.’
'The mood of spontaneous interaction never flags'
That sense of underlying shape and direction, at one with a passionate spirit of musical adventure, gives his disc Out to Lunch a rare quality. Recorded in February 1964, four months before his sudden death at 36, it shows the range of his musical vision, including tributes to both Thelonious Monk and the avant-garde classical flautist Severino Gazzelloni.
Dolphy’s colleagues – Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass and the teenage drummer Tony Williams – share his convictions, approaching each piece not as a preconceived formula but as an expressive occasion. The mood of spontaneous interaction never flags, generating the mix of immediacy and insight, individual voices and collective inspiration that makes Out to Lunch perennially fresh.
The Eric Dolphy album you need
Out to Lunch (1964, Blue Note)
7. Stan Getz (1927-1991)
Popular success is often a mixed blessing for jazz musicians, and Stan Getz is an interesting example. Already a veteran of leading swing bands, the 20-year-old saxist made his mark in 1947 with a famous solo on Woody Herman’s ‘Early Autumn’. Though only eight bars long, its floating lyricism established the distinctive Getz sound. During the 1950s he was one of jazz’s biggest names, and in the early ’60s he achieved commercial status when he became synonymous with the infectious, tuneful rhythms of the bossa nova.
But the more bankable he became, the more purists tended to sneer. Getz’s style was dismissed as a mere imitation of the great Lester Young and ‘emotionally anaemic’, criticism which intensified with the rise of the genres of hard bop, fusion and free. Yet Getz continued to follow his own course and talent, equally indifferent to jazz fashion and top-40 formulae. The result was the gradual acknowledgement of his stature. When he died from cancer in 1991 – having played virtually to the end – he was not just a star, but an immortal.
From dreamy crooning to luminous meditation
One of the virtues of the Getz compilation in Verve’s Jazz Masters series is its revelation of complexity and development. ‘Body and Soul’, from 1952, epitomises the dreamy crooning of his early ballad phase, but ‘It Never Entered My Mind’, from a 1957 concert, is in another league, a luminous meditation from the first notes of the melody. Four years later he featured in one of the most successful unions of jazz and strings, the suite Focus, with arrangements by Eddie Sauter. Getz named this his favourite among his albums, and a high point is the glowing ‘Her’, in which he creates as much a self-portrait as a portrait of a woman.
Perhaps predictably, the Jazz Masters disc begins and ends with the tenorist in bossa nova mode. ‘Desafinado’ and ‘The Girl from Ipanema’, may have made him the darling of the pop charts, but he still displays unflagging creative power as well as appealing buoyancy. Indeed, every track here shows the saxophonist remaining true to his jazz calling.
Pop stars want to be popular. Stan Getz wanted to be himself, and his lifelong quest has left us riches.
The Stan Getz album you need
Verve Jazz Masters Vol. 8: Stan Getz (Verve)
8. Johnny Hodges (1907-1070)
For decades, audiences knew they were about to witness a piece of jazz history when Duke Ellington announced, ‘And now it’s time for Johnny Hodges’. Ellington once said that his alto saxophonist created ‘a feeling of expectancy’ just by sitting in the midst of the saxophone section. Of the imposing gallery of ducal stars, Hodges radiated the greatest lustre, his sound the most gorgeous colour in Ellington’s kaleidoscopic orchestral palette.
He excelled at tenderness and sensuality. Such Ellington classics as ‘Warm Valley’, or ‘Come Sunday’ (from the suite Black, Brown and Beige) are masterpieces shared between composer and saxist. But Hodges was equally a master of funky blues and subtle swing. Listeners were smitten by what Ellington called his ‘tonal charisma’, from his first appearance with the band in 1928 until his death in 1970.
Throughout that time, leader and soloist had a close, if understated, relationship. In contrast to the Duke, Hodges was a taciturn figure pouring out his beauty, initially inspired by his mentor, Sidney Bechet.
‘The world’s greatest saxophone player’
While Bechet inspired the commanding power of Hodges’s tone, Hodges’s style was all his own, with a cool, supple attack that could suddenly swell into one of the scooped glissandos that were his best-known trademark, plus nimble fingers and articulation. His pre-eminence was recognised by his peers in every generation. Charlie Parker paid wry homage to his lyricism by dubbing him ‘Lily Pons’, after the Metropolitan Opera soprano. To John Coltrane he was simply ‘the world’s greatest saxophone player’.
The young Coltrane revelled in the chance to experience Hodges’s mastery first hand, playing with the group that Hodges led from 1951-55, during a sabbatical from the Ellington fold. That band contributes several tracks to a 4-CD set on Properbox by units under Hodges’s name from 1937-52, mostly featuring the altoist’s Ellington colleagues and the Duke himself, in a laid-back feast of ballads, riffs and blues.
For a later taste of Hodges and his boss in symbiotic form, listen to Back to Back from 1959, with an all-star band stretching out superbly on all shades of blues.
The Johnny Hodges album you need
Back to Back (with Duke Ellington; 1959, Verve)
9. Lester Young (1909-1959)
Billie Holiday liked to claim it was she who dubbed Lester Young ‘Pres’ – acknowledging his status as president of the tenor saxophone – just as he named her ‘Lady Day’. Since they were famous soulmates, it makes a nice story, but in fact Young’s nickname went back to his early years. Before he startled East Coast audiences with the Count Basie band in the late 1930s, he had already become a local legend with territory bands in the south-west – the tall, gently eccentric tenor man who held his horn at a 45-degree angle and poured out a seemingly endless stream of ideas.
His sound was as original and fluent as his invention. Instead of the chocolatey, orotund attack of the reigning tenor king, Coleman Hawkins, Pres was quick-witted and allusive, with a light, buoyant, subtly inflected tone. Whereas Hawkins could seem almost scholastic, grinding through the chord changes, Pres created melodies with all the spontaneity of brilliant conversation, taking a motif and tossing it in every direction, on his way to realising a deftly perfect whole.
The most dazzling debut in jazz history
When he made his first recordings – with Basie in 1936 – his talent was fully mature: his solos on ‘Lady Be Good’ and ‘Shoe-Shine Boy’ constitute the most dazzling debut in jazz history. The driving beat of the Basie band suited him and he responded with a series of masterpieces. His protean style signalled new possibilities for the coming generation: the teenage Charlie Parker spent the summer of 1937 absorbing his recorded solos.
In the 1940s, with the triumph of bop and the emergence of a legion of Young-worshipping tenor men – epitomised by Stan Getz – the dominance of Pres’s influence was confirmed. His own playing continued to develop, becoming more probing and laconic. But after 1950, heavy drinking began to take its toll of his life and art, leading to his reclusive death in 1959.
Lester Young demonstrates that jazz is important not as novelty or ideology, but as music of rare distinction, and the splendid four-CD survey of his work to 1949 on Proper, The Lester Young Story, chronicles a unique and indispensable artist.
Jazz pianist and composer Dave Brubeck (1920-2012)
The Lester Young album you need
The Lester Young Story (Proper)
10. Ben Webster (1909-1973)
Though Ben Webster’s career didn’t begin with Duke Ellington, it’s fair to say that his fame did. Alone among the name bands of the Swing era, Ellington had never had a star tenor saxophonist, and the advent of the big-toned Webster sound, ranging feely from tough to tender, gave the ducal palette an invaluable new colour. From 1939 to 1943, Webster was a key player in Ellington’s greatest ensemble, showcased in all kinds of settings, most famously, perhaps, his rasping rampaging solo on ‘Cottontail’.
But despite his identification as an Ellingtonian, the tenorist was always his own man, developing a unique style which, till his death in 1973, made him one of the most distinctive voices in jazz. And with Webster, ‘voice’ was the operative word. Though a proud disciple of Coleman Hawkins, he recast Hawk’s massive tone and harmonic subtlety in highly personal terms creating an intense, individual, even quirky expression.
'Each performance was a kind of existential event'
In a Webster solo, the music came unmistakably from the man and the moment, as he interspersed lush sonority and melodic sweetness with gasps, sighs, cries and growls. Each performance was a kind of existential event, a matter of complete involvement, with whatever sound feeling impelled as it came through his horn.
Despite his reputation for uptempo flights, following his ‘Cottontail’ heroics, ballads and easy grooves were Webster’s true forte, and vintage examples abound in the Verve Jazz Masters compilation devoted to his work. ‘That’s All’ is one of his greatest hits, the melody caressed and customised, the line held back and ornamented with little arpeggiated peaks and varied with different timbres of vibrato, so that every breath, every attack becomes part of the whole, enshrining a poignant lyricism.
The same sense of a personal story explored and expressed comes through his famous duet with Gerry Mulligan on Billy Strayhorn’s ‘Chelsea Bridge’: Webster’s reading of the theme suggests passion lurking just below the surface – reflection of the tenorist’s own sometimes turbulent character.
But in any company, in any mood or tempo, Webster stands out as a master of the jazz principle that, as a musician once put it, ‘Everyone must know your voice’.
The Ben Webster album you need
Ben Webster meets Oscar Peterson (1960, Verve)
Best jazz saxophonists: 11 to 15
11. Benny Carter (1907-2003)
All too often, the popular image of jazz obscures its musical quality. Jazz players are supposed to be hard-living eccentrics, to the detriment of those who simply concentrate on perfecting their art and taking care of business. One victim of such woolly stereotyping was Benny Carter, a great jazz man and consummate professional whose majestic career lasted almost until his death in July 2003, just short of his 96th birthday. Yet any lack of public acclaim was compensated for by the esteem of his peers, expressed in honours and his nickname, ‘The King’.
Beginning in the 1920s, Carter forged a reputation as one of the most original alto saxists in jazz, developing a supple, sophisticated style at a time when the sax was still considered a novelty. The same approach distinguished his burgeoning talent as arranger-composer. While much ensemble-writing of the time was crude and block-like, Carter achieved a fluent grace, full of surprises and finely-honed musicality.
As player and writer, he was a key figure on the New York scene, and, in 1935, went to Europe, where he worked as a staff arranger for the BBC and organised bands and sessions with local musicians, as well as such star compatriots as Coleman Hawkins. He pursued the same busy round of activities on his return to the US in 1938.
'A once and future King'
Although always ranked at the highest level as a saxophonist – and remarkably, he was almost as skilled as a trumpeter – Carter found his time taken up with commercial writing assignments. The 1943 film Stormy Weather marked his Hollywood breakthrough, and he became the first black musician to attain eminence in the prejudiced world of the studios.
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Carter’s career in movies and TV sometimes meant suspending his first love, playing jazz. But he never abandoned it, and over the years recording projects, gigs and concerts served notice that the King’s creativity and virtuosity continued unabated. A classic Carter disc is Further Definitions, from 1961, made with his fellow giant Coleman Hawkins and two younger contemporary saxophonists. Throughout, he is clearly in charge, showing the musical richness jazz can offer in the hands of a master – a once and future King.
The Benny Carter album you need
Further Definitions (1961, Impulse!)
12. Sonny Stitt (1924-1982)
When Charlie Parker died in 1955, a journalist suggested to Sonny Stitt that he might be ‘the new Bird’. Stitt’s reply was unequivocal: ‘Ain’t no new Bird, man’, he snapped. ‘Bird’s dead’. In fact, he’d been a close friend of bebop’s founding father, and a key member of the inner circle that included Dizzy Gillespie and Miles Davis. But as an alto saxophonist, though his style had its own brilliance, he was inevitably seen as a Parker clone.
To disarm comparison, in the late 1940s Stitt switched to tenor sax, forming famous partnerships with the likes of pianist Bud Powell, and from then on alternated effortlessly between the two horns. Effortlessly and tirelessly: a fellow muso once observed that if you gave Stitt too much space, no one else would get a look-in. ‘He’ll play 20 choruses on alto, take a drink of water, then play 20 on tenor!’
Fluency and fire were his trademarks, along with a footloose attachment to the life of the itinerant soloist. Sonny spent virtually his whole career on the road, fronting local rhythm sections all over the world, startling listeners and critics with his unflagging appetite for performance. He died, pushing 60, in 1982, a few days after returning from a gig in Japan.
'The greatest tenor battle ever recorded'
Stitt’s restless lifestyle is reflected in his recorded legacy: it’s hard to choose a representative disc by somebody who turned out over 100 for some 30 labels. But one of the most admired is Only the Blues, in which Stitt leads trumpeter Roy Eldridge, the Oscar Peterson Trio and drummer Stan Levey in a warm sympathetic celebration of the essence of jazz, reissued on Fresh Sound.
15 best jazz trumpeters
But The Eternal Triangles displays Stitt at his most thrilling. A double-CD of all-star encounters led by trumpeter Dizzy Gillespie, its highlight is a 14-minute showdown featuring Stitt and his namesake, tenor giant Sonny Rollins, which has been called the greatest tenor battle ever recorded. At a breakneck tempo, with Rollins at the height of his powers, Stitt stands up to him every step of the way, not giving an inch in authority and inspiration – a proper monument to a jazz gladiator who just loved to play.
The Sonny Stitt album you need
The Eternal Triangles (2009, Fresh Sound)
13. Julian ‘Cannonball’ Adderley (1928-1975)
Some critics disapproved of Julian ‘Cannonball’ Adderley. During a difficult time for jazz, in the 1960s and ’70s, the alto saxophonist flourished with effortless authority and genial appeal; his funky brand of ‘soul jazz’, rooted in blues and gospel, struck a happy chord with listeners more familiar with rock, only confirming purist suspicions.
His arrival on the New York scene in 1955 was the stuff of legend. Fresh from Florida, this roly-poly young man astonished the locals with his virtuosity. ‘Cannonball’ (a childhood corruption of ‘cannibal’, due to his large appetite) became overnight heir apparent to the recently deceased Charlie Parker. As one of his awestruck rivals put it: ‘He was the baddest thing we’d ever heard.’ The Adderley style combined Parker’s fluency and fire, the elegance of Benny Carter and the jump-band energy of Louis Jordan. As a southerner, Adderley was steeped in the blues, yet commanded musical sophistication with thorough academic training.
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All these qualities commended him to Miles Davis, who recruited him for his immortal band of 1957. Cannonball’s ebullience provided a perfect complement to John Coltrane’s mystic striving and Davis’s piquant lyricism, enshrined in some of the great Davis recordings. The association led to one of the altoist’s best discs as well, when Davis agreed to participate as a sideman in a session led by Adderley.
'The Adderley joie de vivre is manifest throughout'
Somethin’ Else shows both men in top form, backed by an all-star rhythm section, achieving a remarkable unity of feeling. The Adderley joie de vivre is manifest throughout, tempered with a concern for space and structure which reveals the Davis influence, making memorable solos on ‘Autumn Leaves’ and ‘Love for Sale’.
After two years with Davis, Adderley left to form his own band, which had an instant hit with a live album in San Francisco. It encapsulates the group’s appeal – a hard-swinging, infectious ensemble, freewheeling solos and plenty of audience interaction. It continued until the altoist’s death from a stroke in 1975, confirming, in the words of Miles Davis, that ‘Cannonball had a certain kind of spirit’, which enlivened everything he touched.
The Cannonball Adderley album you need
Somethin' Else (1958, Blue Note)
14. Sidney Bechet (1897-1959)
All his life, Sidney Bechet was a confirmed, even cantankerous individualist. Though one of the supreme jazz soloists, he always insisted that he played ‘ragtime’, as the music was called in the New Orleans of Bechet’s boyhood. He was inveterately restless, too, pursuing opportunities and adventure through America, Europe and as far as Russia by the mid-1920s.
Wherever he went, he astonished audiences with a passionate, sweeping invention that proclaimed the revolutionary musical potential of jazz. After hearing Bechet in London in 1919, the conductor Ernest Ansermet wrote a remarkable review, praising this ‘extraordinary clarinet virtuoso’, whose unique way of playing ‘is perhaps the highway the whole world will swing along tomorrow’.
It was in London that Bechet found the instrument with which he would blaze his most spectacular trail. As contrary, challenging and powerful as Bechet himself, the soprano sax was little more than a novelty until he took it up; thereafter, his mastery was so complete that he defied anyone to follow him. The horn’s penetrating sonority, especially impelled by Bechet’s huge tone and imperious vibrato, made his musical presence all the more imposing. He dominated every group he played in, brushing aside hapless trumpet players.
'His style is one of the most readily identifiable in jazz'
The Bechet style is one of the most readily identifiable in jazz, and it stamps his authority on every track in the Ken Burns Jazz CD. Here he is, locking horns with his New Orleans contemporary and fellow genius Louis Armstrong, delivering the ‘Characteristic Blues’ which, in London, inspired Ansermet’s vision of the future, turning George Gershwin’s ‘Summertime’ into a growling, gut-bucket lament. ‘Blue Horizon’ is a clarinet masterpiece – six eloquent choruses creating a single majestic arc – while ‘Love for Sale’ shows Bechet tackling a contemporary standard. ‘Shake It and Break It’ demonstrates his up-tempo authority.
That same energy animates the tune ‘Shag’. Decades after it was recorded, a critic played it to the 1960s’ saxophone giant, John Coltrane. He was amazed, exclaiming, ‘Did all those old guys swing like that?’ Bechet did, and he’s still setting the pace.
The Sidney Bechet album you need
Ken Burns Jazz (2000, Columbia / Legacy)
15. Gerry Mulligan (1927-1996)
Just occasionally, a jazz style strikes a chord with a mass audience. In the summer of 1952, the Gerry Mulligan Quartet became the talk of Los Angeles, and the buzz quickly spread nationwide and beyond, thanks to Time magazine and recordings. The group’s novelty was its line-up: Mulligan’s baritone sax and Chet Baker’s trumpet were backed by bass and drums – without piano.
To listeners bored by the blare of big bands, or the manic intricacies of bop, the quartet was a breath of fresh air, blending witty ensembles, inspired solos, and propulsive swing. They excelled at intuitive counterpoint and rhythmic sparring, and their interlocking lines encompassed rich unisons, quirky dissonance and subtle resolutions.
The Mulligan sound was indisputably hip yet winsome, the epitome of West Coast cool. Mulligan and Baker looked the part as well: Mulligan a skinny, crew-cut 25 year-old, Baker even younger, with the deceptive, choirboy aspect which made him the James Dean of jazz. Equally appealing was their repertoire, from such classic Mulligan originals as ‘Walkin’ Shoes’ to standards such as ‘My Funny Valentine’ and ‘Frenesi’.
After Chet Baker
Musically, Mulligan was the prime mover, with the quartet building upon his career as composer and player. After he and Baker parted company he forged ahead with various groups, preferring big bands, devoting much of his energy to them until his death in 1996. The most successful of the large Mulligan ensembles was his Concert Jazz Band.
Formed in 1960, it displayed the same playful swing as his quartet. The group can be heard in a live gig at New York’s Village Vanguard, featuring his quick-witted exchanges with trumpeter Clark Terry on ‘Blueport’, spontaneously challenging each other with quotes from tunes with place names in the title, to their audible delight.
That kind of sheer pleasure in jazz is the recurrent motif in the Mulligan career, regardless of format. Included in the Jeru compilation, are the group with Baker and its successor with valve-trombonist Bob Brookmeyer, driving a Parisian crowd euphoric. Mulligan’s music can still have that effect on anybody.
The Gerry Mulligan album you need
Jeru (2005, Living Era)
Best jazz saxophonists: 16 to 20
16. Dexter Gordon (1923-1990)
Because he stood over six feet, Dexter Gordon was known as ‘Long Tall Dexter’. But the nickname might also have referred to the influence he cast over young tenor players in the 1940s and ’50s: Gordon’s mix of Lester Young’s lithe invention and Coleman Hawkins’s harmonic depth, leavened with Charlie Parker’s brilliance, inspired a generation of saxophonists, including John Coltrane.
He started early. When he joined Lionel Hampton’s band in 1940 he was just 17, and already a roguish charmer. Once, late for a gig, he walked on stage blowing when his solo spot came, bringing the house down. He became a bebop star, playing with the likes of Charlie Parker and Dizzy Gillespie, and, from 1947-52, established a tenor duo with Wardell Gray, performing celebrated saxophone battles.
Later years: imprisonment, a comeback, and an Oscar nomination
But that partnership, and Gordon’s prospects, came to an end with his imprisonment on drugs charges from 1952-54. A second conviction kept him inside from 1956-60. That this huge upheaval in his career didn’t diminish his talent was revealed in a series of prime recordings, such as Go! from 1962. But no sooner had it appeared than Gordon upped sticks for Europe, where he remained until 1976. His return to the US was a triumph, a rediscovery of a jazzman at a time when jazz was at a low ebb. Gordon became a hero again, though his time in the limelight was curtailed by ill health.
Yet he made one final comeback as a movie star, playing the lead in the 1986 film Round Midnight. His fictional character could have been himself, an ageing tenor battling the demons of the jazz life, and the showman-saxist won an Oscar nomination as Best Actor, in a last bow before his death in 1990.
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Though Gordon’s career may be the stuff of legend, its substance shines through albums like Go!. It was his own favourite, brimming with confidence and the prodigality of his gifts. Here are the huge sounds, shifting from R‘n’B honk to sinewy grace, the lines remoulding the beat and the chords – above all the creative momentum, shaping a solo in ways you could never have predicted. As Dexter himself put it, Go! is what jazz people mean when they talk about somebody ‘saying something’.
The Dexter Gordon album you need
Go! (1962, Blue Note)
17. Jan Garbarek (b.1947)
Like saxophonists the world over, Jan Garbarek was first attracted to the instrument by hearing John Coltrane. Beginning in 1961, the self-taught Norwegian teenager made rapid progress, winning national awards and international attention. In 1970 he recorded his first album, for the fledgling German label ECM, establishing a union that has proved prophetic for them both: Garbarek’s work is synonymous with the atmospheric ECM sound.
Garbarek’s own sound, while strongly personal, still recalls Coltrane’s famous ‘cry’, the soul-stirring wail which soared over surging, mesmerising modes, inspiring visions and ecstasies. For players, it offered a kind of liberation, since the modal approach to jazz didn’t require mastering the chord structures on which improvisation had customarily been based. The intricacies of blues and swing were equally unnecessary: at a stroke the music’s expressive freedom seemed to transcend its American roots.
'A quasi-mystical, incantatory quality'
Jan Garbarek has become a standard-bearer for European jazz, declaring that ‘any personal input from any part of the world… will work in the jazz idiom’. On his two-CD retrospective in ECM’s :rarum series, his tone is by turns mysterious, raw and declamatory, conjuring the northern lights, sea birds, ancient myth. Garbarek’s work often projects a quasi-mystical, incantatory quality, rituals to assuage contemporary angst, reflected in such titles as ‘I Took up the Runes’ and ‘Legend of the Seven Dreams’.
Some of the best tracks contrast his arching sonorities with the attacking sound of acoustic guitar, superbly executed by Ralph Towner or Egberto Gismonti. These pieces generate real excitement in shape and texture, as does ‘Sunshine Song’ with a Keith Jarrett quartet, one of the few numbers that achieves the sort of rhythmic groove usually associated with jazz.
In addition, he has had a considerable role in opening up the vast frontier of crossover, epitomised in Officium, his collaboration with the Hilliard Ensemble. Whether or not it can qualify as jazz, it certainly exemplifies the broadening and levelling of the music in a global age.
The Jan Garbarek album you need
Visible World (1996, ECM)
18. John Surman (b.1944)
With every year, jazz extends its global reach, as new modes of improvisation and rhythm reconfigure American blues and swing. There’s no more imposing example of this tendency than the career of saxophonist-composer-leader-solo artist John Surman. The Devon native has created a jazz voice out of music of all sorts, multi-faceted and personal.
To Surman, this mix makes sense. In his words, since he ‘didn’t become aware of jazz’ until he was 15, ‘there was a lot of music inside me that didn’t actually come from Chicago or New Orleans’. As a solo chorister, he’d been involved in oratorios, and folk music was a natural part of his life. Intrigued by traditional jazz, he took up the clarinet, but his talent bloomed when he acquired a baritone sax.
The horn inspired him, and he was soon in the midst of the seething ’60s London scene, amazing musicians with his ability to translate the flights of John Coltrane to the heaving baritone. He revelled in a diversity of associations, from big bands, blues and bop, to township jazz, fusion and free.
‘If it’s good stuff, I like to be in on it'
Multiplicity has remained a basic Surman principle: ‘If it’s good stuff, I like to be in on it. I just like to play.’ And it has generated the wide range of projects and partnerships in his recordings. His compilation in ECM’s rarum series opens with ‘Druid’s Circle’, a pulsating, folkish dance from his suite A Biography of Rev. Absalom Dawe, with multi-tracked soprano and baritone sax.
Surman’s use of improvised solo lines over multi-tracking and synthesizer has become a trademark, exemplified by the dreamy ‘Portrait of a Romantic’ from Private City, one of the many pieces he’s composed for dance companies, and the minimalist, Baroque-tinged ‘Edges of Illusion’.
A frequent Surman partner has been the virtuoso drummer Jack DeJohnette; they inspire each other on ‘The Buccaneers’. But Surman’s alliances are myriad, from his Nordic Quartet on the bluesy ‘Gone to the Dogs’, to chorale-like brass on ‘The Returning Exile’. Though he’s known for a pastoral charm, he’s still a master of edgy swing. And it’s swing that dominates Surman’s ECM disc, Brewster’s Rooster.
The John Surman album you need
Saltash Bells (2012, ECM)
19. Wayne Shorter (1933-2023)
In his whimsical way, Wayne Shorter has had a huge influence on jazz since 1959 when, aged 25, he joined Art Blakey’s collective, the Jazz Messengers. He became known for a saxophone style with Coltrane roots but its own elliptical daring. Headhunted by Miles Davis, he became what Davis called ‘the idea person’ in his quintet.
Between 1964 and 1970 Shorter redefined jazz composition with such pieces as ‘Nefertiti’, a languorously asymmetrical line which Davis found so seductive that he performed it without solos, with the horns simply repeating the melody while the swirling rhythm section generated colour and intensity. Such departures from jazz orthodoxy anticipated Davis’s movement into rock, a direction that Shorter followed as well in the classic fusion band Weather Report, which he co-founded with Joe Zawinul in 1970. Their exuberant formula of catchy originals, seamlessly interweaving improvisation and composition over a pulsating beat, became the sound-track of the 1970s and ’80s – stylish, spacey and hip.
A unique spirit of musical adventure
Throughout that period, Shorter lent his magic touch to all kinds of contexts, incorporating electronics, Latin rhythms and forays into superior pop with the likes of Steely Dan and Joni Mitchell. The gamut of his activities is chronicled in Footprints: The Life and Music of Wayne Shorter, a two-CD set including such masterworks as the title track, ‘Nefertiti’, ‘Infant Eyes’, and ‘Elegant People’.
But for many Shorter devotees, the set’s most significant track may be the final one, by the quartet with which he has been touring since 2001. Featuring brilliant young stars on piano, bass and drums, the group takes him back to pure acoustic jazz and the unique spirit of musical adventure which is Shorter’s real essence. He says the group has never rehearsed – ‘how can you rehearse the unknown?’ – and to hear them live is to experience inspired communication, as solos and ensembles evolve their own breathtaking shape and unity. The ecstatic atmosphere on the quartet’s live CD, Beyond the Sound Barrier, shows that Wayne Shorter’s career is still in full, majestic flow.
The Wayne Shorter album you need
Speak No Evil (1966, Blue Note)
20. Charles Lloyd (b.1938)
Not many jazz musicians command the full glare of rock-style celebrity, but Charles Lloyd experienced it in the heyday of rock. In fact, the saxophonist could claim to have spearheaded the controversial late 1960s boom in jazz-rock fusion. Lloyd himself had impeccable jazz credentials. Born in Memphis in 1938, he grew up playing the blues with BB King. In 1956, he enrolled at the University of Southern California to study composition, and met such contemporary stars-to-be as Ornette Coleman and in 1961 joined the trendsetting Chico Hamilton Quintet. By 1964 he was playing with Cannonball Adderley’s sextet, before forming his own groups, featuring the likes of Herbie Hancock.
But it was the Lloyd quartet of 1966 that seized the cultural moment, making him a star. As jazz was in decline – old-hat music superseded by rock – Lloyd burst on the scene with a band combining energy and variety. He said they played ‘love vibrations’, mixing free jazz, gospel, blues, latin and a rocking groove.
Flowing kaftans, tinted glasses and Afro hairstyles
Equally irresistible were the players themselves. Supporting the leader’s soaring, hypnotic tenor were two young virtuosos at the beginnings of great careers. Pianist Keith Jarrett poured out the rhapsodic solos which have made him famous, backed by drummer Jack DeJohnette’s poly-rhythmic thunder.
Completed first by bassist Cecil McBee, then Ron McClure, the quartet looked the part as well, with the flowing kaftans, tinted glasses and Afro hairstyles of the flower power era. Hailed as ‘the first psychedelic jazz group’, they brought the house down at the Monterey Jazz Festival in 1966, and repeated the feat at the Mecca of rock, San Francisco’s Fillmore Auditorium. The discs recorded at those concerts, Forest Flower and Dream Weaver, became huge hits.
Unfortunately, rock star celebrity produced celebrity burn-out, and Lloyd withdrew in 1970. But in the late 1980s he returned, still a spellbinder, with a new series of quartets. His 2010 ECM disc, Mirror, was hailed as confirmation that the totemic figure of the 1960s had achieved a deeper maturity, bringing his spiritual visions to a new generation.
The Charles Lloyd album you need
Mirror (2010, ECM)
Best jazz saxophonists: 21 to 25
21. Oliver Nelson (1932-1975)
Around 1960, Oliver Nelson seemed to be one of the upcoming men of contemporary jazz. Well-schooled and experienced, he was known as a passionate saxophonist, but even more as a strikingly original arranger-composer, with a special gift for intriguing tunes and ear-catching voicings. His talents brought him to the attention of both major players and record companies. In 1961, Nelson’s album The Blues and the Abstract Truth became one of the first hits on the new, trend-setting Impulse! label.
But, in an old story, success came at a price. Lured by TV, movies, and high-profile commercial assignments, Nelson moved to Los Angeles in 1967. Though he remained busy, he seemed to lose his edge: in the words of one of his old jazz associates, he ‘kind of evaporated’. When he died of a heart attack in 1975 he was just 43. Nevertheless, the clutch of albums he made in the early ’60s still convey a sense of promise, above all, The Blues and the Abstract Truth.
A product of a golden time in jazz
It’s distinguished for several reasons, not least as a product of a golden time in jazz, when young players were steeped in the music’s traditions and ambitious to extend them, not as subversion but continuing creation. Nelson’s all-star septet is a company of virtuosos, each with his own style, from the fluency of trumpeter Freddie Hubbard to the attack of altoist-flautist Eric Dolphy, stretching tonality to its limits, to the pearly impressionism of pianist Bill Evans.
This spectrum of voices imbues each of his six compositions with excitement, underpinned by the swing of bassist Paul Chambers and drummer Roy Haynes. The invention of the pieces create a compelling unity: solos and ensembles are knit together in the jazz spirit of shared discovery. And Nelson’s originals are some of his best, particularly ‘Stolen Moments’, a variation on the blues that won rare popularity as a jazz single, and ‘Hoe-Down’, a cross between a square dance and a revival meeting.
In his liner notes, Nelson took pride in the simplicity of the materials, just the blues and the standard pop-song form, which he turned to his singular purpose, inspiring his team to eloquence and energy. And the result is a bona fide classic.
Six of the Best… Jazz hit singles
The Oliver Nelson album you need
The Blues and the Abstract Truth (1961, Impulse!)
22. Art Pepper (1925-1982)
Jazz is sometimes portrayed as a survivor’s music, and its on-the-edge intensity can exact a high cost in a susceptible personality – as it surely did with Art Pepper. The altoist chronicled his harrowing tale in Straight Life, a tell-it-like-it-feels autobiography that spares no one, particularly himself. In unflinching detail, we see his violent family, his escape into music and total absorption in jazz.
By the early 1940s the white teenager was an accepted part of the thriving club scene on Central Avenue, the main thoroughfare of black Los Angeles. He joined the band of eminent saxophonist Benny Carter, until the group toured the segregated South. Membership in Stan Kenton’s starry crew followed, and resumed after World War II.
By 1950, Pepper had established himself as one of the serious young saxophone contenders. But that same year saw him fall prey to heroin, or rather embrace it. From then on, he sought peace in drugs and freely defined himself as ‘a junkie’.
His playing was still extraordinary, blending melodic agility with bluesy toughness and spur-of-the-moment passion, but his life as a musician was in thrall to his habit. Through the 1950s and ’60s, he spent long periods in prison, performing and recording only sporadically.
A classic of invention, communication and swing
Such circumstances make his 1957 album Art Pepper meets the Rhythm Section even more remarkable. Pepper didn’t learn of the session until that morning. He was out of shape, his horn broken, and his collaborators were the legendary rhythm trio of the Miles Davis quintet – Red Garland, Paul Chambers and Philly Joe Jones. Pepper knew them only by reputation and went to the recording petrified. But things gelled from the first note, and the album is a classic of invention, communication and swing.
By the ’70s, he had been through rehabilitation and was making albums and winning fans. Influenced by John Coltrane, he continued to deepen his style, and his late albums have a searing power, particularly Winter Moon from 1980. Pepper died two years later, and a friend pronounced his epitaph: ‘He gave his all, all the time. I never heard him lay back at any time. And that is an honest musician.’ And a survivor.
The Art Pepper album you need
Art Pepper meets the Rhythm Section (1957, Contemporary / Original Jazz Classics)
23. Louis Jordan (1908-1975)
Rhythm-and-blues (R&B) is jazz’s cheeky, party-time younger brother. It evolved as a distinct genre in the late 1930s and ’40s, created by small jump bands whose free-wheeling energy contrasted with the grandiosity of the big swing orchestras. For the jump bands, the beat was the thing, driven home by a non-stop rhythm section, a couple of horns, bluesy vocals and sassy wit.
Though the catchy R&B formula can claim varied ancestry, a major impetus came from the irrepressible Louis Jordan. Born in 1908, the saxist-singer learned his trade with his father’s Arkansas minstrel show, instilling a life-long instinct for entertainment. In New York, his personality made an impact with Chick Webb’s band. Too much, in fact: Webb sacked Jordan in 1938 for upstaging him and trying to poach his stars.
Ever the showman, Jordan decided that his group’s feature would be a set of kettledrums; and thus was born his Tympany Five. Though the timps soon departed, their name and eccentric spelling remained, signifying a potent, highly polished, infectious brand of musical entertainment that took large sections of the US by storm. In the years during and after World War II, he won popularity with a stream of recordings that revelled in a lithe, pulsating groove which demanded that you dance, with slick, pithy arrangements, and a repertoire of good-time tunes tailor‑made for his vocals.
A knowing blend of country humour and urban flair
Though he crossed over to the mainstream pop charts, Jordan’s main appeal was to black audiences, who relished his knowing blend of country humour and urban flair. His songs are full of hip, funny comments on the passing scene, from rationing to the post-war boom to inflation, plus the eternal delights of food, drink and pretty ladies. Some of his manic narratives anticipate rap, just as, in the 1950s, R&B mutated into rock‘n’roll.
But it was the arrival of rock, with its amplification and beat, which curtailed Jordan’s pre‑eminence. He stayed on the road, off and on, until his death in 1975, and the later success of the West End revue Five Guys Named Moe – made up of Jordan hits such as the title tune – confirmed his abiding stature. You can beat your feet to the works of the Tympany Five in JSP’s collection.
The Louis Jordan album you need
Somebody Up There Digs Me (1956, Mercury)
24. John Dankworth (1927-2010)
In 1951, one of the brightest young bandleaders on the British scene was looking for a singer. After a weary trawl through some 30 candidates, he heard a voice that gave him a little frisson of goosebumps. It belonged to Clementine Langridge, a frustrated young housewife yearning to be a star, and he offered her a job virtually there and then. In short order, John Dankworth’s new vocalist was renamed Cleo Laine, and a legendary jazz couple was born.
In the more than half a century since, Dankworth and Laine created some of the most distinguished and varied music to come out of the UK, attaining a massive global following. They both approached their 80th birthdays with talents undiminished, playing a gala concert at the BBC Proms in August 2007, before John Dankworth died in 2010 aged 82.
2024 BBC Proms: full programme
Despite their long alliance, Dankworth and Laine always pursued solo careers as well. John Dankworth first made his name with his cutting-edge septet as leader, composer-arranger and potent altoist in the Charlie Parker mould. His subsequent big band compounded his success, with hit records and a US tour.
Iconic soundtracks
In the 1960s he became a first-call composer for TV and cinema, producing soundtracks for such iconic films as The Servant and Modesty Blaise. He also wrote for, and conducted, symphony orchestras all over the world. Of course, his skills and versatility made him the perfect music director for Laine. But she’s also established her own formidable reputation as an actress – acclaimed in both straight plays and musicals – and a singer commanding almost cult status, particularly in the States.
Her dramatic sense, coupled with her extraordinary vocal range, have enabled her to excel in recordings from Porgy and Bess to Schoenberg’s Pierrot Lunaire, and with such varied partners as Duke Ellington, James Galway and Ray Charles. The quality of her achievement is displayed on The Very Best of Cleo Laine (RCA Victor). As for John Dankworth, a double-disc EMI set, The Best of John Dankworth, gives an overview of his lifetime achievement.
The John Dankworth album you need
The Best of John Dankworth (EMI)
25. Iain Ballamy
What do people like about jazz? For some, its essence is the musical power of improvisation, spontaneous composition before your ears. Others rejoice in its freedom and energy, the release of expressing whatever you feel any way you like. In Paris in the jazz-mad 1920s, the proto-surrealist Erik Satie declared: ‘Jazz shouts its sorrows at us and we don’t give a damn. That’s why it’s fine, real.’
In that view, jazz is a matter of behaviour as much as art, an assault on decorum, inhibition and convention. As music, its great virtue is that it’s not classical, which is why, to some radical players and critics, the idea of a ‘jazz tradition’ amounts to a contradiction. The point is not to emulate the past, but to conjure subversive new sounds for the present and future. Jazz should be alive in the moment, totally free. The only trouble with this scorched-earth aesthetic is that, for close listeners, it may not deliver the artistic goods. A live gig may offer a temporary buzz, but not much of a musical aftertaste.
A wide emotional range, intelligence and imagination
Which is why I admire Iain Ballamy. Now in his forties, the saxophonist has been a mainstay of the British contemporary scene since the 1980s, winning particular notice as a charter member of the big band Loose Tubes. Their house style was a kind of edgy whimsicality, and Ballamy one of its prime exponents. But as composer and soloist he also displayed a wide emotional range, intelligence and imagination, qualities that have remained typical of his work ever since.
Six of the best... classical saxophonists
He has built up a big following in Europe, recording a series of food-themed CDs with a Norwegian band, encompassing abstraction, rock and electronics. But my favourite Ballamy CD is The Little Radio, a delightful collaboration with accordionist Stian Carstensen, which shows just how capacious and accomplished cutting-edge jazz can be.
Beginning with a version of the classic tenor showcase ‘Body and Soul’, which manages to be both tender and tongue-in-cheek, the duo tackle an eclectic bill, from ‘Honeysuckle Rose’ and ‘Teddy Bears Picnic’ to Satie’s ‘Je te veux’, and Ballamy’s swirling homage to Sonny Rollins, ‘My Waltz for Newk’. Musical, ingenious and endearing, this is jazz to listen to again and again.
The Iain Ballamy album you need
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Five Minutes With: Vancouver-based Saxophonist Karla Sax
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"Emilea Semancik"
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2024-01-12T03:33:42+00:00
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Recognized for her groundbreaking fusion of jazz and contemporary saxophone melodies, Karla Sax has established herself as a dynamic musician.
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Vancouver Guardian
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https://vancouverguardian.com/vancouver-music-karla-sax/
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Originally hailing from the UK, Karla Sax, an accomplished saxophonist, currently calls Vancouver, BC, her home. Recognized for her groundbreaking fusion of jazz and contemporary saxophone melodies, Karla has established herself as a dynamic and adept musician. Her performances have graced numerous prestigious venues, including several esteemed five-star hotels in Mallorca, Spain. Notably, she had the honour of opening for the renowned John Legend at an exclusive event in Reno, alongside DJ Akamissdj. Adding to her list of accolades, Karla Sax has showcased her talents for the Canucks and made notable appearances on television. Renowned for her presence at some of the most happening events in Vancouver, Whistler, and Victoria, Karla’s original compositions, produced by Bach Music and released under her label Atlast & Miami Beats, have amassed an impressive 7.5 million streams on Spotify. Karla Sax’s performances seamlessly blend elements of jazz, Top 40 hits, electronic house, lounge music, and tropical house, illustrating her remarkable versatility and adaptability across diverse musical genres.
Name:
Karla Sax
Genre:
Tropical House, Lounge, House, Top 40, Jazz
Founded:
2013
# of Albums:
I actually have two Christmas albums out on Bandcamp from a few years ago! All of my original singles are on Spotify. Covid gave me the opportunity to delve into writing; there’s always a silver lining in everything.
Latest Single:
‘Paris Memories’
Latest Video:
Favourite musician growing up:
I have a few! My saxophone teachers, Campbell Ryga and Jack Stafford played a huge role in shaping me as a musician. I immediately idolized them, and have held them in the highest regard ever since. They introduced me to various well-known sax players from the past such as Charlie Parker, Paul Desmond (one of my fav’s) to name a few. I also loved jazz vocalists such as Ella Fitzgerald and Billie Holiday. I definitely listened to The Spice Girls too! I grew up with a lot of music in our household, and one piece that sticks out is ‘Baker Street’! I still love playing that song.
Favourite musician now:
I can’t narrow it down to one, I have loads. Artists such as Jimmy Sax, Bjork, The Beatles, Donny Benet, Deep Chills, Dua Lipa to name a few.
Guilty pleasure song:
It depends on my mood…some days I am partial to classical music, some days it’s top 40, and other days it could be the Mamma Mia soundtrack!
Live show ritual:
A run in the morning, meditation, healthy lunch, and getting myself in the zone.
Favourite local musician:
Nikita Afonso
EP or LP?
Spotify
Early bird or night owl?
A bit of both
Road or studio?
Both
Any shows or albums coming up?
Coming up is the Crème de la Crème Wedding Showcase on Feb 18th at the JW Marriott Parq Vancouver, 39 Smithe Street, Vancouver, BC V6B 0R3.
Where can we follow you?
Instagram | Spotify | Bandcamp
***
Rapid Fire Local Questions:
What is your favourite local restaurant?
New Fuji
What is your favourite street in your city and why?
West 4th, because it is my beautiful neighbourhood, and they have supported me as an artist by hiring me for many events. Thank you to the West 4th BIA!
What is your favourite park in your city and why?
Pacific Spirit Regional Park. I love to be in nature and surrounded by the quiet calm of trees and woodland paths.
What is your favourite music venue in your city?
Guilt & Co
What is your favourite music store in your city?
Long and McQuade
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Another sax legend
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2023-11-23T00:00:00
|
David Murray Part of my "strangely extensive" jazz series! The London Jazz Festival crams so many fabulous events into just over a week that one inevitably misses a lot. I didn’t even manage to hear Ron Carter, Aynur, or Hiromi, but I delighted in young musicians’ tribute to Tomasz Stańko. After Ronnie Scott’s (NB my…
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en
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Stephen Jones: a blog
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https://stephenjones.blog/2023/11/23/david-murray/
|
David Murray
Part of my “strangely extensive” jazz series!
The London Jazz Festival crams so many fabulous events into just over a week that one inevitably misses a lot. I didn’t even manage to hear Ron Carter, Aynur, or Hiromi, but I delighted in young musicians’ tribute to Tomasz Stańko.
After Ronnie Scott’s (NB my post on Ray Man, covering a lot of ground!), another site for Soho jazz history is the conducive ambience of Pizza Express in Dean street. Besides the endless subtleties of the rhythm section, I’ve always delighted in trumpet playing (see e.g. Fats Navarro, Clifford Brown, Lee Morgan, and several posts on Miles, to be found under A jazz medley), but it’s good to refocus on the sax, in the hands of the great David Murray (b.1955). Raised in Cali, in 1975 he moved to New York, taking part in the loft scene; soon he founded the World Saxophone Quartet. Like Rahsaan Roland Kirk, he benefits from circular breathing. Since 1998 he’s spent periods living in Paris (working on projects such as Banlieu Blues), and collaborating with Afro-Cuban musicians. No longer an enfant terrible, and not yet quite a veteran, he’s constantly exploring.
I relish this, live at the Village Vanguard in 1986, with Ed Blackwell (drum), Fred Hopkins (bass), and John Hicks (piano):
In 2018 Murray formed Class Struggle (see e.g. here) with his son Mingus (guitar), Rashaan Carter (bass), Russell Carter (drums), Craig Harris (trombone), and Lafayette Gilchrist (piano).
Source.
In this interview he reflects:
As tenor players get older, we tend to play fewer notes, but with more authority. We play the truer tones. Even in the kind of music I play, I feel my notes are getting more selective. I don’t have to fool around with unnecessary notes. Some of my predecessors—Archie Shepp, Paul Gonsalves, Lester Young, Coleman Hawkins—got a chance to mature in their sound. Part of the maturation process on the tenor is to become more frugal with your note selection. Some notes ring on the tenor saxophone more so than on other instruments. There are certain notes inside of a chord—if you hit the right tones in the measure, you don’t need to spell out every note inside of a chord. It takes experience to do that. You have to tell a story on the tenor saxophone. A young musician won’t tell the same stories as an older musician—a musician who has been through divorces, who has been through the travails and tribulations of life. Some of the truest stories in jazz have been told on the tenor saxophone. When you hear a story being told, you take note.
Fred Jung called him “the Madonna of jazz, reinventing himself in a contemporary union with the times”. Murray laments the lack of individuality in the factory approach and the Lincoln Center treadmill. He speaks highly of Jerry Garcia and the Grateful Dead.
Blues for Memo (2018; playlist), with rapper Saul Williams, was recorded in Istanbul (see here). It’s a tribute to Turkish jazz promoter, Mehmet “Memo” Uluğ. “We try to remember him with this album. He was a bass player and he and his brother, Ahmet, owned the Babylon jazz club and Positive Productions. They’ve done great things in Istanbul” (cf. Nardis, and Jazz in Turkey). Here’s an introduction, opening with the sounds of kanun zither:
Here’s a “teaser” for the documentary I’m a jazzman (Jacques Goldstein, 2008):
* * *
For how jazz musicians learn and develop their voice and style, it’s always going back to Paul Berliner, Thinking in jazz. Jazz genealogies are notoriously hard to trace (dig the trumpet family tree here)—for the sax, see e.g. this basic outline. Murray may sound “avant-garde”, but he recognises his influence from players of previous generations such as Paul Gonsalves, Lester Young, Coleman Hawkins, and Dexter Gordon. From the next generation, he’s inspired more by Albert Ayler and Ornette Coleman than by Coltrane. The sax lineage moves on through the likes of Pharaoh Sanders, Wayne Shorter, Art Pepper, Sonny Rollins, and Archie Shepp, then extending to Britain with musicians like Courtney Pine and Nubya Garcia.
At the LJF gig Murray appeared with Luke Stewart (bass), Russell Carter (drums), and Marta Sanchez (piano). His gutsy honking in the bass contrasted with some amazing squealing way up the top of the register, just like a high trumpet. He ended with vocals reminding us of his advocacy for the African-American cause. Here’s his 2004 album Gwotet with the Gwo-Ka Masters and Pharaoh Sanders:
The creativity of jazz never ceases to astound me. David Murray exudes an air of authority, at once dynamic and benign—it was a delight to hear him.
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David Murray Albums
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Initially an inheritor of an abstract/expressionist improvising style that originated in the '60s by such saxophonists as Albert Ayler and Archie...
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https://www.freshsoundrecords.com/10823-david-murray-albums
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Initially an inheritor of an abstract/expressionist improvising style that originated in the '60s by such saxophonists as Albert Ayler and Archie Shepp, David Murray eventually evolved into something of a mainstream tenor, playing standards with conventional rhythm sections. However, Murray's readings of the old chestnuts are vastly different from interpretations by bebop saxophonists of his generation. Murray's sound is deep, dark, and furry with a wide vibrato -- reminiscent of such swing-era tenors as Ben Webster and Coleman Hawkins. And his approach to chord changes is unique. Although it's apparent that he's well-versed in harmony, Murray seldom adheres faithfully to the structure of a tune. He's adapted the expressive techniques of his former free jazz self (slurred glissandi, indefinite pitches, ambiguous rhythms, and altissimo flights) to his straight-ahead playing, with good results. He'll plow right through a composition like "'Round Midnight," hitting just enough roots, thirds, fifths, and sevenths to define the given harmonies, then filling every other available space with non-chord tones that may or may not resolve properly. In other words, he plays the wrong notes, in the same way that Eric Dolphy played the wrong notes. Like Dolphy, Murray makes it work by dint of an unwavering conviction. The sheer audacity of his concept, the passionate fury of his attack, and the spontaneity of his lines -- in other words, the manifest success of his aesthetic -- make questions of right and wrong irrelevant.
Murray's parents were musical; his mother played piano and his father guitar. In his youth, Murray played music in church with his parents and two brothers. He was introduced to jazz while a student in the Berkeley school system, playing alto sax in a school band. When he was 13, he played in a local group called the Notations of Soul. Hearing Sonny Rollins inspired Murray to switch from alto to tenor. He attended Pomona College, where he studied with a former Ornette Coleman sideman, trumpeter Bobby Bradford. Around this time, he was influenced by the writer Stanley Crouch, whom he met at Pomona. Murray moved to New York at the age of 20, during the city's loft jazz era -- a time when free jazz found a home in deserted industrial spaces and other undervalued bits of urban real estate below 14th Street. Murray and Crouch opened their own loft space, which they called Studio Infinity. Crouch occasionally played drums in Murray's trio with bassist Mark Dresser. In a relatively short time, Murray (with help from his unofficial publicity agent, Crouch) acquired a reputation as a potential great. Murray's early work was exceedingly raw, based as it was on the example of Ayler, who had a penchant for multiphonics, distorted timbres, extremes of volume, and forays into the horn's uppermost reaches and beyond. He made his first albums in 1976, Flowers for Albert (India Navigation) and Low Class Conspiracy (Adelphi), with a rhythm section of bassist Fred Hopkins and drummer Phillip Wilson. Also in 1976, Murray became -- with Julius Hemphill, Oliver Lake, and Hamiet Bluiett -- a founding member of the World Saxophone Quartet. Around this time, Murray was commissioned by theatrical impresario Joseph Papp to assemble a big band, which enjoyed a degree of critical success. Out of the big band came the formation of an octet, which provided him a platform for his increasingly ambitious compositions.
In the '80s, Murray performed with the WSQ, his octet, and various small bands, recording mostly for the Italian Black Saint label. His octet records of the time -- though very roughly executed -- showed him to be a talented (if unformed) composer. Murray's recording activity reached nearly absurd levels in the '80s and '90s; probably no contemporary jazz musician has led more dates on more labels. It was in the '80s that Murray began relying more on the standard jazz repertoire, especially in his small ensemble work. As he got older, the wilder elements of that style were toned down or refined. Murray incorporated free jazz gestures into a more fully rounded voice that also drew on the mainstream of the jazz improvising tradition.
In the '90s, the influence of his swing- and bop-playing elders became stronger, even as the passionate abandon and spontaneity that marked his early work were replaced by his attention to the craft of playing the horn. Murray recorded just as often as he had with Black Saint. DIW signed a distribution deal with Columbia in the early '90s. He recorded a number of important albums during that decade, including Special Quartet with McCoy Tyner, Fred Hopkins, and Elvin Jones and Shakill's Warrior with Don Pullen on Hammond B-3, drummer Andrew Cyrille, and guitarist Stanley Franks -- the latter stretched the B-3 soul-jazz genre into entirely new terrain. He cut a one-off album for Red Baron entitled Jazzosaurus Rex, and fronted Pierre Dørge's New Jungle Orchestra for the Jazzpar Prize album. During this period, Murray's Black Saint albums began to appear as reissues on CD, so record store shelves were bursting with his titles. In 1995, Murray released one of the most compelling and little-known albums in his career on France's Bleuregard imprint. Flowers Around Cleveland was recorded with pianist Bobby Few, drummer John Betsch, and bassist Jean-Jacques Avenel -- the rhythm section from the Steve Lacy Quartet. It was a risky match that paid off gloriously; it offered proof that in spite of his towering presence as a soloist, Murray was also a sensitive stylist and team player.
In fact, Murray became an inimitable stylist, which was underscored by DIW's release of Ballads for Bass Clarinet that same year. He threw jazz fans a true and deeply satisfying curve ball in releasing Dark Star: The Music of the Grateful Dead on Astor Place, with a large group that included Hopkins, Craig Harris, and even the Dead's own Bob Weir. Murray also began a long and fruitful relationship with Justin Time, a Canadian label distributed through Enja. He recorded what was -- at the time -- the most revolutionary and controversial recording of his career in Fo Deuk Revue, which featured a large group of African and American musicians, with layers of drums and chanted vocals along with poetry and recitations by Amiri Baraka. It wove together funk, jazz, and various African folk styles that began to draw Murray in. They would emerge full-blown in the 21st century. In 1998 he issued four albums of new material. First was another variation on the B-3 soul tip with Jug-A-Lug on DIW, his tribute to the music of Gene Ammons with organist Robert Irving, electric bassist Darryl Jones, and guitarists Bobby Broom and Darryl Thompson, with Olu Dara guesting on trumpet. This was followed on the same label by the moving The Long Goodbye: A Tribute to Don Pullen and the stellar The Tip. Murray also recorded his second album for Justin Time in 1998 with Creole, a large-group album that offered a meld of jazz as influenced by numerous Latin and Brazilian styles. Murray also continued to record and tour with the World Saxophone Quartet.
In the 21st century, Murray began the decade prolifically. In 2000 he released three albums and in 2001 four. Of these, the most satisfying was the 2000 release Octet Plays Trane on Justin Time. In 2002 Murray made the stellar Yonn-Dé for the label, his first David Murray & the Gwo-Ka Masters offering; the others would be 2004's Gwotet (with Pharoah Sanders) and 2009's The Devil Tried to Kill Me. Murray issued a dizzying array of recordings in that first decade, including Now Is Another Time with his Latin Big Band, Waltz Again in 2005 featuring his quartet in a setting backed by strings, and Silence in 2008, as well as five more with the WSQ. In 2010, Murray's complete Black Saint and Soul Note recordings were given the box set treatment. His first recording of new material in the century's second decade found the saxophonist on Emarcy with a new band called the David Murray Cuban Ensemble. Their debut for the label was Plays Nat King Cole en Español, released in October of 2011, which interpreted, song for song, two albums the singer and pianist recorded in Spanish and Portuguese -- in 1958 and 1962 -- respectively. Murray's fiery persona as a vanguard improviser still reveals itself in his performances and on select recordings. That said, manifested more frequently now are his abilities as an artful composer, arranger, and bandleader who also happens to be a master technician on the tenor saxophone and bass clarinet. Murray debuted his new Infinity Quartet on his 2013 recording Be My Monster Love with pianist Marc Cary, bassist Jaribu Shahid and drummer Nasheet Waits. The album also featured cameo appearances from vocalists Macy Gray and Gregory Porter, as well as trumpeter Bobby Bradford, the saxophonist's former teacher. In 2017 Murray issued Cherry/Sakura, a collaboration with Japanese pianist and composer Aki Takase.
Back in 2014, Murray attended the funeral of longtime friend, poet and activist Amiri Baraka, whom he had collaborated with as early as 1987 on the poet's New Music, New Poetry. There he witnessed Saul Williams reciting a poem. The chance encounter led to a collaboration between the two artists, with Williams sending Murray a collection of poems to set to music. Like Baraka, Williams is challenging. He is socially and politically engaged and consistently employs visceral images in his work. Their jointly recorded album, 2018's Blues for Memo, features Williams stringing together images on topics ranging from politics to the nature of consciousness, from health, capitalism, and forced labor to poems about earth formations and cosmic time.
Thom Jurek —All Music Guide
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