"Some of this actually happened."
What's more unbelievable, that 'some' of the absurdity we see in American Hustle 'actually happened' or that folks actually looked like this?
David O. Russell has followed up his popular Silver Linings Playbook with what has to be described as an even more elaborate and entertaining comedy. From its humorous opening, where a podgy Christian Bale battles a hair piece, our senses are taken over by something outside of our comfort zone. Yet, while American Hustle is comedic throughout, it's also very well structured. Based loosely (remember: only some of this actually happened) on the 1978 Abscam investigation, wherein the F.B.I. managed to recruit the services of con-man Mel Weinberg to track down corrupt public officials, Russell has simplified and juiced this unbelievable true story. Of course, the historical accuracy is likely to be disputed, but the comedic and raunchy flavour of the film will stop the sceptics from landing too many blows.
It’s a
hair and tits film, that’s for sure. Let’s start with the hair. Bale’s
immersion into the character - and hair - of Irving Rosenfeld (based on the
real life Mel Weinberg) is unnerving. He captures this cunning fake art dealer
and fraudulent personal loan dealer from “the feet up”; much like Bale did as
Dicky Eklund in Russell’s 2010 drama, The Fighter. But has there ever
been a film which has drawn attention to hair quite like this? Bale’s comb over
and toupee is an elaborate character in itself. Constantly throughout the film
our eyes dart to the hair and we get nervous when it looks out of place. Later,
Russell gives equal time to the tiny curlers which hold Richie DiMaso’s (a Silver
Linings-esque Bradley Cooper)
abhorrent hair in place. The hair makes the high rollers in this entertaining
sloberknocker.
Also, has
there ever been a film which has drawn this much attention to breasts? Amy
Adams’ role as Sydney Prosser, Rosenfeld’s lover and "British"
business partner, is anything but prim and proper. She’s enigmatic, as most con-artists are, knee deep in her own fabricated life, and throughout we are left
to play the guessing game as to what Sydney is truly up to. What is
unquestionable, however, is that this woman possesses curls and breasts.
Costume designer Michael Wilkinson deals in sexy little numbers perfectly,
allowing these stellar actresses to assert themselves. Not to be outdone is
Irving’s not-so-domestic-goddess wife Rosalyn (Jennifer Lawrence). And
with a fake tan, imported nail polish and her own riskay outfits, the rivalry which
builds between the wife and mistress is palpable. Russell always finds new and
interesting ways to dabble with spiralling chaos.
The
supporting cast is a weapon much like the supporting cast was in Silver
Linings Playbook. Jeremy Renner’s performance as a corrupt, yet
surprisingly loveable, politician, Mayor Carmine Polito, is thought provoking
and endearing. His bouffant – Elvis is in the building! – and pastel suits give
him edge, while his Italian charm helps to develop Bale’s Irving in ways we don’t
see coming. Yet, as complimentary as Polito is to Irving, Louis C.K.’s mellow
and down to earth F.B.I. agent helps even more to develop Bradley Cooper’s
unflattering DiMaso. Cooper gets the short straw in the film, as his
character’s instability will aggravate audiences. It’s undoubtedly Russell’s
desire to make the feds comes off worse - and more unsavoury - than the crooked
politicians and mobsters. Characterisation never takes a backseat in a David O.
Russell flick.
American
Hustle is what
it looks like: a whole lot of fun. There’s a musical buffet – feast your eyes
on Lawrence’s dance to Live And Let Die
– but the constant use of music can take away from the flow and the audience’s
concentration. Superb characterisation, costumes and acting makes this film
good, but it’s stretched length and messiness stops it from being a truly great
movie. Go, drink in the ‘70s, the con jobs and the tunes. It’s chaotic, but
that’s David O. Russell. Just ask George Clooney.
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