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American Hustle

American Hustle

Unlike many of my colleagues, I wasn’t swept away by American Hustle. I appreciate the 1970s
period flavor, the propulsive nature of the screenplay by director David O.
Russell and Eric Warren Singer, and the showcase it provides for a cadre of
talented actors. However, about halfway through the movie I came to the
realization that I didn’t care about any of these people. Like a concert where
each member of the band takes a series of flashy solos, American Hustle is a movie in which the parts are greater than the

Even the snarky opening legend, “Some of this stuff actually
happened,” makes it difficult to invest in the duplicitous goings-on. We know
the film was inspired by the ABSCAM sting operation, but how much of what we’re
seeing is true and how much was invented? Normally, this wouldn’t matter a
great deal, but that mixed message put me on my guard.

On the plus side of the ledger, Russell enables his cast to
inhabit some colorful, downright transformative, characters. Each one wants to
be something they’re not, and that must be liberating for the performers. Christian
Bale would like to be a more successful con artist, Amy Adams wants to shed her
humdrum existence by pretending to be coolly British, Bradley Cooper dreams of
becoming a star at the FBI by bringing down some big game, and Jennifer
Lawrence craves the love and attention that her husband isn’t prepared to give
her. They’re all operating at the very top of their game and that’s great fun
to watch. I also loved Louis C.K. as Cooper’s frustrated FBI boss. The only one
I didn’t care for was Jeremy Renner; he’s a good actor, but I just didn’t buy
him as a guy from Jersey named Carmine. You can see the real thing on reality
television, and he isn’t it.

American Hustle is
overlong, but it’s never dull. It has many great moments, including a reference
to Duke Ellington that brought a big smile to my face. But in spite of its many
assets, the picture gave me no one to root for, so at the end, I felt nothing.


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