Almost in breadth and depth of a documentary, this movie depicts an auto race during the 70s on the world's hardest endurance course: Le Mans in France. The race goes over 24 hours on 14.5 ... See full summary »
Lee H. Katzin
With her infant daughter Margaret Rose in tow, Georgette Thomas pulls up stakes from Tyler, Texas to head to Columbus, Texas to be reunited with her husband, Henry Thomas, who has just been... See full summary »
In 1930s New Orleans, the Cincinnati Kid, a young stud poker player who travels from one big game to the next, stopping along the way up with various girls, is pitted against the legendary champion card-sharp Lancey Howard in a high-stakes poker game.Written by
There are two different endings to this film. The first ending, which is shown in all vhs releases, after Stoner loses the coin throw to the shoe shine boy, the boy walks away saying "You're not ready for me yet, Kid." As the boy walks away, Stoner turns around and it fades into the ending credits. In the second (or extended) ending, which was shown on Turner Classic Movies, after Stoner loses the coin throw to the shoe shine boy, the boy leaves saying "You're not ready for me yet, kid." Stoner turns around and continues walking until he sees Christian, then embraces her. The frame then freezes and says "The End" before fading into the credits. See more »
"There's always a kid", says Edward G. Robinson's character, "the man", in this film, and I guess there's always a man as well. In fact, the Cincinatti Kid is just about the least kid-like kid you could imagine, as Steve MacQueen was little more than ten years away from his death-bed when he played the part. I don't know what it is I like about Steve MacQueen: either his acting is very subtle indeed, or it's virtually non-existent, but there's something about his strong, silent, only reluctantly violent heroes that is innately more appealing than, say, the "make my day, punk" attitude of Clint Eastwood. Robinson's suave gambler is also an appealing figure in this movie. There's also some good use of traditional New Orleans jazz (but also some nasty, obvious strings on the soundtrack as well, reminding one of the equally ugly music in director Jewision's 'In the Heat of the Night', made at around the same time).
There are obvious parallels between this film and 'the Hustler', but while more modern, this film is also simpler in construction: there are some side-plots but ultimately, the characterisation (though strong) is static and it all comes down to the cards on the table. Someone wins, someone loses; but that's always the way. This isn't the deepest film you'll ever see, but it remains an immensely watchable one.
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