Cruise. Newman. Scorsese. The Cultural Event of 1986 Returns on 35mm: The Color of Money – 10/17 @ NEIU

The Auditorium at Northeastern Illinois University – Building E, 3701 W. Bryn Mawr Ave
General Admission: $7 • NEIU Students: $3

Wednesday, October 17 @ 7:30 PM
THE COLOR OF MONEY
Directed by Martin Scorsese • 1986
“You gotta be a student of human moves.” Screenwriter Richard Price might well have been describing himself when he penned this pearl for Paul Newman’s iconic “Fast Eddie” Felson – just one of his many fired-off salvos of hard-won wisdom that seem to fly right over the head of meathead protégé Vincent Lauria (Tom Cruise). Charged with drafting a sequel to 1961’s The Hustler, Price reportedly threw out the source material (Walter Tevis’s follow-up novel and his own screenplay adaptation), dusted off a familiar sports-movie premise, and managed somehow to whip up a highly amusing, tightly wound film bursting with fresh insights on the human condition. The plot: Fast Eddie, two-and-a-half decades removed from his bitter straight-pool triumph over Minnesota Fats, now sits around grousing about the new generation of “bangers” who achieve cheap successes in televised nine-ball tournament play. After discovering the cocky young Vincent, though, he can’t help but salivate at the prospect of another shot at green-felt immortality, so it’s time to hit the road, stopping in every rundown Rust Belt poolroom they can find. (Chicago plays itself, along with Atlantic City and several other gritty locales.) Along for the ride is Mary Elizabeth Mastrantonio as Vincent’s girlfriend Carmen, frequently getting caught in the middle as the shooters’ partnership quickly curdles into a rivalry. Plus, how about a moody, time-capsule-worthy score by The Band’s Robbie Robertson and a scene-stealing cameo by a young Forest Whitaker? And now there’s barely time to mention the fun and flashy direction by a middle-period Scorsese (flirting amiably with self-parody a decade before showing signs of full congealment), abetted by the restless and resplendent cinematography of occasional collaborator (and Fassbinder fave) Michael Ballhaus. Rack ’em. (GW)
119 min • Touchstone Pictures • 35mm from Disney, permission Swank
Short: W.C. Fields in “Pool Sharks” (Edwin Middleton, 1915) – 10 min – 35mm

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