American Hustle - the Vibe of Survival

Not so much a review, as a holy crap, that is the best thing I've seen in years, sort of deal. For starters, I knew what it was about, I knew it was getting a lot of acclaim - hell, I was even alive and aware when Abscam hit the news. I only remember blurry black and white videos, some politicians and maybe a Sheik-guy, but it reminded me of another fascination I'd experienced as a kid/teen: Watergate. For more on this, read my last novel Fall in One Day. Except you can't because my previous agent turned it down. And so did another agent or two. And...

I digress.

I went to the flick with my movie (and seventies-loving) daughter. To be honest, I was ready to be unimpressed. I rarely like Christian Bale in anything. So it starts, and I'm liking what I see - sort of reminding me of the seventies vibe that I love so much (see most of the films I talk about in this blog - like Night Moves or The Long Goodbye). And then the first few bars of Steely Dan's, Dirty Work, rise up as Bale, Cooper and Adams slow-mo walk through a set of doors. Oh damn. Really? (For more Steely Dan addiction read Fall in One Day...etc.)

I read somewhere that O. Russell was trying to catch that vibe of the golden era of American Cinema. There are parts of the movie that feel that way. Sure, there is the hair, cars and clothes - but that never does it for me. It is the way it's shot. I'm thinking of movies like Three Kings or Traffic, that captured it better. But in the 70's, story and vibe was king. I guess story still remained king when a certain upstart filmmaker shot a shark movie against a haunting John Williams score - or a nerdy California left his hot-rod nostalgia and went into space opera - well, anyway, you get the idea. The whole story, character, vibe thing went dead. Notable exceptions here are independents like Jim Jarmusch (on my mind, as he is in my city this weekend) and early Gus Van Sant (Drugstore Cowboy).

But here is the thing, American Hustle captures something much much deeper than the period look and the music (though, the music helps a lot). It captures the soul. It is a movie about survival. I was riveted as the actor's each took turns taking over the movie. I somehow forgot Jennifer Lawrence was in it. And for the first third, she isn't in it much. Then I remembered some buzz around here. I wondered why, as she was in it so little - until the last 2/3 of the movie, where she basically kicks the shit out of everyone. But Cooper wrestles it back, and Adams... simply amazing throughout. A jaw-dropping performance.

The thing is, the whole centre of the movie is Bale. The guy I don't usually like - well, actually, the guy I hate. But here, he is it, he is survival. And he becomes someone totally not Bale, not even a bit. This alone should win him an Oscar. But it isn't about awards and such. I'm a movie guy, and a writer. I've seen a lot, read a lot, had lots of viewing experiences. That sounds like a medical procedure (Mr. Terlson, please lay down for your viewing experience). What I mean, is the intellectual, emotional (and somewhat soulful) experience I have when I see an amazing piece of art. At the Chicago Institute I stared a long time into Hopper's Nighthawks. I mean, a long time. And the experience was transcendent.

When the credits rolled, over ELO's Long Black Road (!), I asked my daughter not to talk to me. I just needed to soak it in for minute or two. I felt teary (no surprise for me at the movies - but this was different.)

I had just experienced something very real. And I went home thinking about survival. And I am still thinking about it.