Reynolds & Deneuve Do the ‘Hustle’ 1975

We'll always have Paris... or Rome. The lead characters of 'Hustle' long for an escape from life in LA.

I'm sticking up for Hustle, because the 1975 neo-film noir has a by-rote reputation as one of Burt Reynolds’ lesser efforts and a box office bomb. The Robert Aldrich directed precursor to Lethal Weapon is better than that. Hustle has a solid dramatic performance by Burt Reynolds and, while no classic, is one of the action star’s better movies. Word of mouth about this downbeat flick kept it from raking in the really big bucks, like The Longest Yard, the first Reynolds-Aldrich collaboration. But Hustle is still one of Burt’s top ranking hits.

Lethal what?! Burt Reynolds and Paul Winfield as the cocky and the by-the-book cops, respectively.

Hustle may offend the PC Police and by today's standards, there are situations that are indeed sexist and racist. But it also feels realistic, in an era that was just adjusting to both the women’s and racial equality movement. Just remember that this film is almost 45 years old, as of this writing.

The story is '70s gritty, with the only relief a glamorized duo of the weary cop and high class call girl, as played by Reynolds and Deneuve. Their characters, Lt. Phil Gaines and Nicole Britton, are tired of their professions and looking for a way out. She longs to go back to Paris, and he to Rome, where he apparently made wonderful memories. Both are in "agreement" about their current no-strings situation, but it is beginning to fray.

Burt's depressed cop doesn't like that call girl Deneuve brings her work home with her!

This movie has a feeling of a modern day Chinatown, though Hustle is obviously not in the same league. The story is adapted by screenwriter Steve Shagan’s own novel, City of Angels. There are essentially two stories going on. One is the cautionary tale of a young woman from an unhappy upbringing, a dicey adult life, and now a washed up corpse on the beach. The other is crime story of deadly corruption by a high powered lawyer, who is linked to the girl.

Ben Johnson, as the dead girl's father, seeks justice. That's Catherine Bach, pre-Daisy Duke, as the girl's roommate.

Frankly, I found the girl’s tragic trajectory more interesting, because it is a more timely topic than ever, of young women who are exploited by powerful men. Also, the characters surrounding her are more realistic and compelling. The story of the tangled web of the crooked lawyer, while entertaining, is nothing new and panders to the sleazy side of this film.

While Hustle sometimes feels like an elevated TV movie, the situations and language quickly demonstrate that this isn’t just a big screen episode of Reynolds' previous cop series, Dan August. What doesn't help the movie is Robert Aldrich's longstanding weakness for longwinded storytelling and sensationalism. The movie clocks in at two hours. And while not as rambling as say, Hush, Hush, Sweet Charlotte, this cop with character flick should have clocked in at the standard 1 hour and 45 minute mark. For instance, the scene at the airport bar serves no purpose, yet meanders on. The bigger issue is with Aldrich’s pushing the taste envelope too far. On the one hand, the cops' world of the cesspool of criminals feels authentic, as does the dead girl's descent into stripping, porn, and prostitution. However, there is a lingering, lascivious quality at each stop that adds to this movie's exploitive reputation. Shock value was an Aldrich trademark, from The Big Knife to Baby Jane to Sweet Charlotte to The Killing of Sister George to The Legend of Lylah Clare and in his later cop movie, The Choirboys. 

Ernest Borgnine's broad performance as the chief of police is about as authentic as that B&W window view!

The movie has two climactic scenes. One feels false and the second comes out of left field. The first is when Phil tries to right the wrongs of the movie’s prior events—very movie-ish. The last scene, where Burt may be the first movie cop to make that seemingly ordinary yet fateful stop along the way home, ready to start a new life. Don't stop, Burt, keep driving home to lovely Deneuve!

Aldrich brings back some of his favorites here: Cinematographer Joseph Biroc provides no-nonsense photography for the crime story and a more moody look for the stars’ romantic scenes. Music is again by Frank DeVol. And long-time Aldrich actor Ernest Borgnine makes his 6^th appearance for the director.

Reynolds’ fondness for nostalgia is utilized. His character Phil loves old time movies, stars, and music. Burt often got classic era stars to appear in his films—here it’s Ben Johnson and Don "Red" Barry, two former cowboy stars. Burt's self-deprecating humor is on full display in Hustle, but there are tell-tale moments when Reynolds southern-style "Rat Pack" mentality started creeping in. Some critics then noted that the nostalgic aspect of Reynolds’ character was a bit much as movie shorthand for sentiment. They were right—way too many classic movies playing in the background and tearjerker old time songs, as well.

Burt Reynolds in his 1975 prime, in a role that requires more than his beefcake good looks.

Ultimately what makes this movie worth watching is the acting, by two great stars and a stellar cast of character actors. 

Burt Reynolds played a cop for about half his career—I'm surprised he wasn't given an honorary badge! Hustle is definitely one of his most straightforward film performances. As Phil Gaines, Burt is charming and blasé as always, but is preoccupied beneath the glib surface, wondering how much longer he can tap dance around the fact he’s burned out. Burt's wry, deadpan humor fits in perfectly with the gallows humor of the movie version of LAPD and the day to day hell Phil deals with. There’s moments when his character steps up and is the kind of man he wants to be, and Reynolds is quietly effective. One scene is when Phil Gaines admits to Ben Johnson's distraught father that they should have covered his daughter's body before showing him the corpse.

True, Deneuve and Reynolds aren't exactly typecast in 'Hustle,' as the weary LA hooker and cop.
But audiences probably wouldn't have flocked to see veteran supporting stars Eileen Brennan and Ben Johnson in the roles!

Reynolds’ scenes with Deneuve’s Nicole Britton feel authentic, that they have a history, and their scenes are alternately romantic, sexy, funny, and also sad.  Critics were quick to point out that there probably weren't too many high class French hookers in LA, much less ones who were devastatingly beautiful like Deneuve. True, but I doubt if there were too many weary veteran cops who looked like Burt Reynolds in his prime, either. The main concession to mainstream movie making is the glamour of Hustle's stars.

Catherine Deneuve in one of her few American films, as Nicole Britton, in 'Hustle.'

Catherine Deneuve is just as effective in her acting style as Nicole. And like many great film actors, Deneuve conveys a great deal with a flicker in the eye or a slight turn of the head. Catherine reminds me a bit of Garbo here. Her cool restraint complements Burt's more brash American style of movie star acting perfectly. Deneuve said much later that she enjoyed Burt’s charm and humor, though she felt the movie didn’t ultimately work. Reynolds’ dark masculine good looks and Deneuve’s picture perfect blonde beauty make them one of the most handsome movie couples ever.

Ben Johnson and Eileen Brennan give 'Hustle's' best performances as the bereaved parents with baggage.

Then there’s that supporting cast: As Sgt. Belgrave, Paul Winfield brings authority to the proceedings, as Burt's partner and the voice of justice for the dead girl. Ben Johnson is intense as the outraged, grieving father. And Eileen Brennan is just as good as the resigned, weary mother. As flawed but decent people, Johnson and Brennan as Marty and Paula Hollinger give the film's two best performances. Johnson’s escalating frustration with the investigation borders on scary. And Brennan has a great scene with Reynolds, her realistic mother opening up to the cop, at a cocktail lounge. Eddie Albert, always so likeable in film and on TV's Green Acres, got to be effectively nasty for Robert Aldrich here and in The Longest Yard, much like Fred MacMurray did for Billy Wilder in Double Indemnity and The Apartment. As evil lawyer Leo Sellers, Albert is a smiling cobra. Likeable Ernest Borgnine is encouraged to play to the broad side of his persona as police chief Santoro, and frankly his scenes are the movie's weakest.

'Green Acres' Eddie Albert enjoys an entirely different type of Hooterville as sleazy lawyer Leo Sellers.

Familiar faces show up for a single scene: Don “Red” Barry is the airport bartender and Queenie Smith is the whiny liquor store customer. Future familiar faces pop up, too: Fred Willard as the baby-faced interrogator; Catherine Bach as the dead girl's roommate; and Freddie Krueger himself, Robert Englund is the liquor store robber who seals Reynolds' fate.

Robert Englund, forever Freddie Krueger shortly after 'Hustle,' plays a hold up guy at the liquor store.

Bonus for baby boomers: If you're looking for a '70s nostalgia fix, look no further, Hustle has it all: Brown is the predominant color throughout; transistor radios, rotary phones, and televisions on stands; and 8-track tapes for the car, with vinyl for the living room! 

Hustle is worth checking out for the fine cast and a look back at mainstream ‘70’s filmmaking style.

A very good copy of Hustle can be found here, as of 4/12/19: 

https://rarefilmm.com/2018/09/hustle-1975/

Deneuve's Nicole gets the bad news, which Catherine admirably underplays at the finale of 'Hustle.'