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| Steve McQueen tries to keep his cool as “The Cincinnati Kid.” |
There were many talented
hands involved with the poker playing epic, 1965’s The Cincinnati Kid. However, Steve McQueen is the winner, in the title
role. McQueen isn’t just cool, but also effortlessly natural and emotionally understated
as the man who has something to prove.
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| Like Paul Newman, Steve McQueen knew the power of his piercing blue eyes. |
A common criticism of The Cincinnati Kid is that Paul Newman’s
The Hustler from 1961 is a much more
powerful story. That should go without saying. To me, the similarities between
the two films are superficial: both title
characters struggle to make a name in their game; both are going up against a
veteran champ in their respective sport. Otherwise, the movies are apples and
oranges: Newman’s film is a stark, realistic black and white drama; McQueen’s
movie is a stylish, colorful crowd-pleaser. The
Hustler is a classic; The Cincinnati
Kid is great entertainment and holds up well 50 years later.
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| A smile from the usually laconic Steve McQueen, as “The Cincinnati Kid.” |
I’ve only seen a few
of Steve McQueen’s films because many of them are genre flicks. However, from
what I’ve seen, I’m always knocked out by McQueen’s naturalistic performances.
As The Cincinnati Kid, Steve’s card
player is tough, but only when he has to be. Though he has ethereal Tuesday
Weld and erotic Ann-Margret in his thrall, McQueen’s bad boy truly only wants
Weld. When he strays once with A-M, he sees that it’s a mistake. In the typical
male star vehicle, it’s a given that the hero can beat up any man and bed every
female in sight. Steve McQueen differed from his greatest competitor, Paul Newman.
Growing up, I always thought of them as the same type. While McQueen’s beat-up
good looks and blue eyes are irresistible, Steve was no male beauty like Paul. I
like Steve’s style during the ‘60s, much more than Newman’s cocky anti-hero.
McQueen reminds me of an updated version of Bogart and Garfield. The final
scene where the Kid admits that he’s done, tonelessly matter of fact, is just
one of many understated moments by Steve McQueen in The Cincinnati Kid.
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| The scene when Steve McQueen’s “Cincinnati Kid” quietly admits defeat is powerful. |
Edward G. Robinson’s
performance as veteran gambler Lancey Howard is one of his best—and one of
Eddie’s most restrained. Nicknamed “The Man,” Howard knows that “The Kid” is
coming down the pike. When Howard rolls into New Orleans, he’s like visiting
royalty. I love watching Robinson as Lancey, like a Cheshire cat, taking
everything in with great stillness. His poker face is quite entertaining,
contrasted with those half-asleep eyes that miss nothing. After a game with a
sore loser of a rich man, a game is set up that includes The Man and The Kid.
During that third act poker game, Robinson gets to genially spar with former WB
co-star Joan Blondell, and his interaction with younger star McQueen is
understated and riveting. Eddie was
quoted that he admired McQueen, that he was a throwback to the WB stars like
himself, Bogie, Cagney, and Garfield. Robinson was totally right.
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| “I’m still the top stud poker player, see?” Edward G. Robinson as Lancey Howard aka The Man in 1965’s “The Cincinnati Kid.” |
What a shame that
Edward G. Robinson didn’t get an Oscar nod for his subtle, dryly humorous
performance. This and his final turn as Sol in 1973’s Soylent Green were most worthy for Best Supporting Actor Oscar
nomination consideration. The fact that Eddie got zero Oscar nominations in his film career is one of the Academy’s
blindest blunders.
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| One-time WB stars Edward G. Robinson & Joan Blondell reunited as a card shark & card dealer in 1965’s “The Cincinnati Kid.” |
Aside from Steve
McQueen, Ann-Margret, and Tuesday Weld, with their modern style, there’s a lot
of period detail for a ‘60s movie that wasn’t a costume picture. McQueen has
his designer hair cut, but his clothes are timeless, except for that cool rain
jacket in the opening scenes. And Weld’s hair is very ‘60s hippie chick, but she’s
otherwise in character. Then there’s Ann-Margret as Shooter’s young wife,
Melba. I like A-M overall as an actress and she seems like a class act as a
person. But her shallow kitten with a whip gets old really fast. Compared to
the natural performances and physical appearance of the rest of the cast, Annie’s
tidal wave of dyed red hair, awning-sized false lashes, and her purring/hissing
cat in heat act stands out in the wrong way. Totally ‘60s in a ‘30s set movie,
Ann-Margret’s performance is ironically the one thing that is dated in an
otherwise authentically atmospheric film.
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| Ann-Margret as Melba the Cat? As Karl Malden’s faithless wife, Melba even cheats at jigsaw puzzles! From 1965’s “The Cincinnati Kid.” |
Tuesday Weld’s
Christian, a country girl in New Orleans, is her quirky, child-like self. But
as the good girl to Ann-Margret’s vamp, Weld has a more genuine rapport with
McQueen’s character. The Kid’s bathtub scene, when Christian explains a foreign
movie that she’s just seen is one example of their charming interplay.
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| Tuesday Weld & Steve McQueen have a sweet rapport in 1965’s “The Cincinnati Kid.” |
The cast of The Cincinnati Kid is simply incredible.
Karl Malden is a flawed good guy, Shooter, coerced into cutting the cards in
the Kid’s favor, because of debts incurred by his trampy wife, Melba. Malden’s
empathetic, as always. Rip Torn, of the John Cassavetes/Ben Gazzara department
of creeps, is the poor sport money man who wants the Kid to take down reigning ancey. Joan Blondell has her likeable broad routine down pat by now as card
dealer Lady Fingers. All the actors get their moment to shine: Jack Weston as
grouchy Pig; plus Jeff Corey, Dub Taylor, Cab Calloway, Karl Swenson, Milton
Selzer, and Burt Mustin. Uncredited but remarkable is Ken Grant as the little
shoeshine boy who always wants to challenge the Cincinnati Kid in a penny
pitch.
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| Ken Grant is winning as the shoe shine boy who dogs “The Cincinnati Kid.” |
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| The shoe shine boy who idolizes and challenges “The Cincinnati Kid,” 1965. |
The movie’s tight yet
intriguing visual style is courtesy of director Norman Jewison, editor (future
director) Hal Ashby, and versatile cinematographer Philip H. Lathrop (Touch of Evil and Point Blank). Jewison was an actor’s director who was also a great
storyteller and it shows here. The story, though it revolves around cards, is
really about what the stakes are for these characters in the game. You notice
every character, even if they are only reacting to the major players, a
hallmark of a Jewison movie.
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| Director Norman Jewison at right, listening to his star, Steve McQueen, on the set of “The Cincinnati Kid.” Tuesday Weld is in the middle of the talk. |
The Cincinnati Kid was from a novel by Richard Jessup, a writer
with a tough upbringing, similar to star Steve McQueen. Sadly, both men died
young, two years apart, from cancer. The crisp and humorous script is by old
pro Ring Lardner, Jr., first time off the black list, and newcomer Terry
Southern, who came into his own in the ‘60s. Lalo Schifrin provides the score,
with Ray Charles singing the theme song.
An amused beef from me:
Why didn’t Jewison reshoot the scene where McQueen throws Malden up against the
door, after the Kid finds out Shooter is favoring him with the cards? When
Steve slams Karl, the entire wall wobbles!
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| Rip Torn, so good at playing villains, is rich SOB Slade in “The Cincinnati Kid.” |
Some movie critics and film
fans have complained about card games as a subject matter and the impossible
odds of The Kid and The Man’s last hands. Personally, I find card games
incredibly boring. The game scenes here were filmed with great skill and I was much
more interested in the players’ motivations than their card hands.
The
Cincinnati Kid is a crowd-pleaser, you’re either all in, or
you’re out.
Here’s my look at director
Norman Jewison’s 1967 ensemble masterpiece, In
the Heat of the Night:
http://https://ricksrealreel.blogspot.com/2020/06/in-heat-of-night-1967.html
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| “The Cincinnati Kid” is on its game as great entertainment. |
