The Hustler (1961)
Directed by Robert Rossen
Fast Eddie Felson is a small-time pool hustler with a lot of talent but a self-destructive attitude. His bravado causes him to challenge the legendary Minnesota Fats to a high-stakes match.
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If the narrative structure of the piece is framed by two matches between Eddie and Minnesota, the thematic structure is a freight train to Hell punctuated by first a late-night train ride where Burt lays out what he thinks of Laurie, then this rape sequence, which cements the transition from Elia Kazan's Breem-contaminated A Streetcar Named Desire to the collapse of Breem's Code later in The Hustler's decade.
The special effects were the work of Eugene Schuefftan, who later worked in Hollywood as the cinematographer of “Lilith” and “ The Hustler .”
Most of these were done through the pioneering special effects work of Eugene Schuefftan, who later worked on The Hustler near the end of his career.
His director of photography was German emigre Eugen Shuftan, a hugely important in-camera effects innovator on Fritz Lang's "Metropolis," whose prior film had been Georges Franju's unspeakably beautiful 1960 horror masterpiece, "Eyes Without a Face."
Robert Rossen's ("Lilith"/"Body and Soul") The Hustler filmed in black and white and Cinemascope plays as a rich paean to the low-life pool players, dank pool halls and its pool sharks.
Fortunately Rossen went on to make the much more satisfying The Hustler .
His director of photography was German emigre Eugen Shuftan, a hugely important in-camera effects innovator on Fritz Lang's "Metropolis," whose prior film had been Georges Franju's unspeakably beautiful 1960 horror masterpiece, "Eyes Without a Face."