The first time I saw “The Hustler" I was a teenager in high school back in the late 60’s.
By that time I’d already been playing pool for a bit after a friend, Jim, and I had killed a few hours at a bowling alley in Redwood City north of San Francisco, while his parents bowled. It was a common set up back then for Brunswick lanes to also have a pool room and we batted around the balls an extra big table with 15 red balls and some numbered balls and had no idea what we were doing.
But we were hooked, or at least one of us was. A few weeks later we both bought personal cues and began to play on a regular basis at the Billiard Palacade on the corner of Mission and Geneva a few blocks from both of our houses. It was an old vaudeville theatre turned pool room that soon became my second home. But, as in so many things in life, inevitably one of us excelled awhile the other faltered. I began to deliver consistent beatings on Jim and after a while Jim could no longer make our match up dates with some regularity. I then began to play Guido, an older Italian gentleman with a huge white mustache and mane of hair who was a regular at the room. Soon I began to administer regular beat downs on Guido (but for unknown reasons he appeared to take some kind of crazy, fatherly pride in it all).
So like I said, I was in high school. One night in the downstairs room that my parents had carved out for me in our garage, for the first time on my 15” TV, I watched “The Hustler.”
Oh. My. God. Talk about hitting where you lived; right in the old solar plexus; and grabbing you by the vitals. I was in — all in. I don’t think I can accurately describe how hard it hit me. Eddie, the road hustler with his manger in tow, walking into the big city, big money room where the pool tables were "the slabs they lay the stiffs on."
And then the match with Fats.
It just ate me up: the rail birds pulling up their seats for what they knew would be an epic battle, the placing of the bets, the ritualized racking of the balls, the calling out of very ball, the tapping of cues on the floor to acknowledge a great shot.
I was consumed.
Many, many years later I was channel surfing and Robert Osborne (RIP), TMC host, appeared seated in his chair taking about… “The Hustler.” How it was made, who was consider for the role of Fast Eddie (Tony Curtis, Cliff Robertson, Jack Lemmon, and Bobby Darin, while Kim Novak turned down the role of Sarah) and what Robert Rossen, the director, eventually decided to do. So I decide to watch for old times sake and came to discover they were broadcasting it in letter box.
I’d never seen it in letterbox, having become accustomed to the square pan-and-scan version I’d watched many times before. And let me tell you: the letterbox version of “The Hustler" is a revelation. The wide screen shots in the pool room are fabulous — absolutely amazing. And in all their black and whiteness they take on the appearance of a classical Greek tableau. It’s almost like something by Da Vinci. Or at least good enough to win a couple of Academy Awards for cinematography and art direction.
“The Hustler” was huge for me and to this day remains a touchstone. I own two original movie posters, one for the original release and then the re-release a few years later, and I display them in our loft from time-to-time. And I also own a first edition of Tevis’ novel.
If you haven’t viewed the letterbox version I urge you to do so. And even if you have, give it another viewing. It’s amazing.
Lou Figueroa