In December of 2010, I saw a movie that was so uplifting, it immediately became my go-to film during dark times. That movie was The Fighter. It was so well constructed, and a perfect underdog story full of drama and nuance. Two years later, another movie came out by the name of Silver Linings Playbook. Like The Fighter, it was a feel good movie despite it's dark subject matter. What did the movies have in common? Director David O. Russell. So understandably, I was very giddy with anticipation for American Hustle.
American Hustle is the tale of Irving Rosenfeld and his lover/partner in crime Sydney Prosser, two con artists who work mainly on low level grifts in 1978. When Agent Richie DiMaso busts the pair, they are forced to assist the FBI in sting operations to take down the Mayor of Camden, New Jersey. But they also must deal with Irving's wife Rosalyn who could blow the operation at any time.
The film is noticeably a departure from Russell's last two films, stylistically and thematically, but it is still magnificent. It has many elements of a Shakespearean drama. Forbidden love, secret alliances, moral ambiguity, corruption in authority figures, betrayal, and so much more than I can afford to name. It delves into the darkness and corrupt of the world, but also leaves us moments of humor to sprinkle onto it. It's so sophisticatedly blended to make an excellent genre balance that never relinquishes your attention.
There is such an emphasis on character rather than plot in this film that gives it more depth than anything I have seen recently. The characters all have their own uniqueness to them, none with any clearly defined sense of morality. No one is never whom they seem, and the payoffs are so sweet because the actions they choose show us the true visage of our heroes.
Another thing that this film has as opposed to Russell's other films is a period setting that it truly takes advantage of. Sure, The Fighter was set in the late 1980s to early 90s, but it never really gave off too much of that vibe. You got the feeling that it could have easily been placed in a contemporary setting. This time, you get the beautiful 1978 sense of style. Be it the suits, the music, the cinematography, the proper, you feel totally immersed in the world of yesteryear.
Christian Bale is easily the most committed actor in the business (Daniel Day-Lewis not withstanding). He delves so much into the character of Irving, and he lets the audience see who he truly is. Bale's methods of staying in character and committing to the lifestyle payoff marvelously to create a multi-layered nuanced take on a character who in the 1920s could have been played off as any man flipping a coin and chomping on a toothpick.
Bradley Cooper makes the best of both of his acting styles to create a performance that stands apart from his previous work. He is both funny, and serious, never to be taken lightly. If anyone from The Hangover trilogy will win an Oscar, it will be Cooper. Just probably not this year.
Amy Adams is as lovely as ever, turning in one of her best performances. Normally the pure, morally strong, sweet heart, Adams gives us a little more of that ambiguity that she brought last year to her the role of Peggy Dodd in The Master. Here though, she is much more twisted than normal, and she never follows any set stereotype.
Jeremy Renner is another terrific example of the talent in this film. There are so many different sides to his character, that he is not easily read at all. From the set-up, we are led to believe that he would be the main antagonist of the film, but it's never really clear if this mayor is corrupt or simply doing what is best for his city. Renner is charming, and that's what makes it hard to root against him.
I have seen Jennifer Lawrence since her days on The Bill Engvall Show, and so far, Russell is able to get better work out of her than any director I have seen yet. After her Oscar winning turn in Silver Linings Playbook, it could have been simple for her to turn in the same type of performance. To be certain, the comparisons between the films are inevitable, but this time she exhibits a wider range as a mother, as an alcoholic, as an overall malcontent that can change the entire course of the film.
Also included, two memorable turns by the always hilarious Louis C.K. and the legendary Robert De Niro.
The cast collectively is so brilliant at developing a unit which plays so well off of each other. I can't even dream of trying to pick Andrew's Standout.
This is definitely one for the top ten list this year. Featuring such a brilliant ensemble that focuses more on character than plot, American Hustle is not to be missed.
A-
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