Realização:
Martin ScorseseArgumento:
Richard PriceCâmara:
Michael BallhausMúsica:
Robbie RobertsonElenco:
Paul Newman, Tom Cruise, Mary Elizabeth Mastrantonio, Helen Shaver, John Turturro, Bill Cobbs, Randall Arney, Elizabeth Bracco, Vito D'Ambrosio, Ron Dean (mais)Streaming (1)
Sinopses(1)
As Fast Eddie Felson, he still believes that "money won is twice as sweet as money earned." To prove his point, he forms a profitable yet volatile partnership with Vince (Cruise), a young pool hustler with a sexy, tough-talking girlfriend (Mary Elizabeth Mastrantonio). But when Vince's flashy arrogance leads to more than a few lost matches, all bets are off between Eddie and him. (texto oficial do distribuidor)
(mais)Críticas (9)
A delicacy not only for players. Martin Scorsese scores, shoots with imagination, picks up the pace and masterfully leads Paul Newman back to the pool table. The irresistible Mary Elizabeth Mastrantonio is charming, but Tom Cruise oscillates between naive, whiny and pompous douchebag a little too vehemently and spoils it a bit. Amazing atmosphere, great music. ()
Cruise’s dandy may be as dumb as a cue stick, but he has talent and guts, and that's why Hustler Newman is returning to the game after years (oh, and also the prescription sunglasses). And the female counterparts? They’re there just to console and manage their inflated egos, which is incredibly necessary when the mood is that winning money is twice as sweet as earning it. Michael Ballhaus's camera is perfect, whether it’s capturing smoky pool halls, the game itself, or helping to capture Newman’s aura as he finally goes for the gold statue on his seventh attempt. The problem lies in the narrative dynamic, where the ambitions of a sports film and drama are not fully realized, and the clacking of the hardened plastic balls eventually starts to sound monotonous. Nevertheless, I’m surprised that a collection of pool wisdom from Eddie Felson wasn’t released after this. There would certainly be one specially dedicated to Turturro’s character: "If you want to win, don’t powder your nose, but your hands." ()
A film full of life's wisdom and truths of the universe we live in, cleverly, intelligently and Hollywood-ishly wrapped in pop culture garb acceptable to the masses. Eighties mainstream, but offering something a bit more than just light entertainment, from a very interesting and novel billiards environment. Paul Newman as a legend teaching Tom Cruise as a rookie. Who would have thought back then that Cruise would maybe outgrow him in real life. ()
This is Scorsese like I’ve never seen him before. While I have other favorites from his filmography, spending time with the ageless Paul Newman and the gentleman’s game of pool was more than enjoyable. 75%. ()
You are sitting at home with a fever, feeling sick, heart jumping back and forth, chills, loss of appetite, everything is wrong and yet any time someone here sips brandy and takes a good drag from a cigarette, you feel like doing the same. This is actually proof of first-class conjunction between camera, direction, and actors, isn't it? ()
Definitely a quality film about billiard battles, starring Newman and Cruise. However, I am not particularly attracted to this environment and it does not interest me, so I was quite bored by the substantial amount of footage. Paul Newman's performance does not seem exceptional enough to be awarded an Oscar. But at that time I was two years old, so I do not know who competed with him for the award. However, I definitely want to continue watching Scorsese's films. ()
Martin Scorsese has a gift for filmmaking. He is able to shoot something that is intense despite its relatively narrow popularity among people. By filming something that doesn't interest everyone, but manages to turn it into an interesting, great film, it is only proof of how capable he is as a filmmaker. "The Color of Money" is about billiards, seemingly, but above all, it is about where the effort to make a little money ends, even if not morally, and where something begins that I would call the end of humanity. Paul Newman shows what acting is, and Tom Cruise shows that he is not just a good American boy. It is not a film that knocks you off your feet, but it is something that at the very least impresses you with its sense of immoral moralizing. ()
One of Martin Scorsese's more mediocre films, which of course in the grand scheme of things is still a very good film. From a contemporary perspective, however, it is a beautiful retro with a miraculous 80s soundtrack on top of very solid cinematography. There are also some perfect "9-ball" shots that are a joy to behold. The story itself is a boilerplate tale of how an old teacher first tries to tame a rambunctious pupil and how everyone eventually comes to an understanding. It's certainly not bad, and Paul Newman is very good here, but not quite enough for Scorsese. A better 3 stars. ()
Scorsese’s greatest commercial success prior to Cape Fear is essentially a film of the 1980s in many respects. As a sequel to The Hustler, The Color of Money fits in with the fashion of sequels at the time, with Tom Cruise, enjoying his new-found fame thanks to Top Gun, in the second-biggest role of his career to that point, and is a very cool spectacle thanks to the music and cinematography. The Colour of Money is not a typical, somewhat forgettable product of the eighties, but a distinctive work by a filmmaker with a rather clear vision. Scorsese’s films have been cool at least since Mean Streets, so the (audio-)visual style here was not a reaction to the period demand for outwardly bombastic spectacles; in fact, the opposite was true – the times finally caught up with Scorsese. The casting of the ascendant Cruise could also have led to false conclusions. Though the screenplay doesn’t favour either him or Newman, it definitely isn’t the then-desired variation on the story in which a young pup learns new tricks from an old, incorrigible dog. Furthermore, the relationship between the cynical Eddie and the brash Vincent reflects developments in the film industry as such, specifically the redistribution of power in Hollywood: from the hands of the old guard into the paws of eager young yuppies. So, whereas Newman, who doesn’t have much room to rise (and, at the same time, doesn’t want to fall) practically has nothing else to do but recapitulate his career with nostalgia and put his life priorities in order, Cruise, who fittingly works in a toy store at the beginning, demonstrates with monumental arrogance and zero respect that, as he himself believes, no one has anything on him. Both of them are stubborn, but only the younger one is incorrigible. Because if I understood the last shot correctly, Eddie, after his plan to gain control of his apprentice (and as a bonus, make some money off of him) fails, not only returns to the game, but mainly returns to the game for the sake of the game itself. After many years of cynically hustling others and proving god knows what to himself, he is finally becoming a real king of pool. It doesn’t matter than his kingdom is roughly two square metres in size – it is where he has won and lost the most important battles of his life. The importance of this object covered in felt with the colour of money for both players is constantly emphasised by the camerawork, often at table height and reminiscent of the stroke of a pool cue with its abrupt approaches to the characters. Just as Newman can steal a scene in a moment with his charisma, Scorsese is able to create the necessary atmosphere in a just a few seconds and prepare us for the importance of the event that is about to happen. However, the truth is that the individual scenes, however imaginatively directed, are quite similar to each other in their resulting feeling and after two hours I was immensely grateful to finally get out of those smoky pool halls. Even so, The Color of Money is still a very, very stylish film with one of Newman’s best later performances. 75% () (menos) (mais)