Just like any movie or book, I think what one takes away from TCOM is kind of an individual thing.
I remember when it first came out in 1986, about 10 of us from my local pool room all met up at the Avalon Theater, an old-timey movie house, for opening night. We all sat in the back and thoroughly enjoyed it on the big screen, giggling at some of the one-liners.
Though I did not know any top players at that time, I was aware that they used real pool shooters in the film. Now every time I watch TCOM, I'm always looking for the familiar faces: Mike Sigel and his then-wife, Waterdog, Louie Roberts, Jimmy Mataya, Grady Mathews, Howard Vickery, and Keith McCready. There's a few others whose names escape me at the time of this writing, but for the pool public, those who are familiar with its culture, it somehow made this movie hit home. I've gotta say that there isn't a tournament that we go to where the word "nightmare" is not fondly mentioned.
TCOM was Paul Newman's first Academy Award win, and having him and Tom Cruise star in this movie attracted mainstream America. The movie happened be about pool and brought attention to the game/sport and all of its niceties and not so niceties, depending on how you look at it.
Though not as realistic as "The Hustler," the movie in which I think the younger Paul Newman was excellent as Eddie, the plot of TCOM was actually reflective of pool in the '80s, a combination of high-profile tournaments such as the one at the Resorts in Atlantic City and action rooms sprinkled across the land and frequented by a variety of player types.
The movie was well done, had an excellent director in Martin Scorsese. I think it was meant to be a spinoff of "The Hustler." It will go down in history as a classic and continue to be one of pool's best-remembered flicks.
On the TCOM poster, the descriptive one-liner reads:
The Hustler isn't what he used to be.
But he has the next best thing.
[blank line]
A kid who is.
JAM