I’m not entirely sure whether or not I like David O. Russell. The celebrated writer and director has garnered quite a reputation for himself over the past four years thanks to his award-winning films The Fighter(2010) and Silver Lining’s Playbook(2012). Regular readers will know that I wasn’t exactly wowed by Russell’s supposed reinvention of the rom-com but I couldn’t deny it was of a much greater calibre than the usual Nicholas Sparks adaptation. However, with the still questionable talents of Bradley Cooper in the lead role I could never completely get on board with it. Regardless, the cast list and costume department had got me suitably interested in American Hustle for me to get over my apprehension.
The phrase “some of this actually happened” flashes up on a pre-movie title card before David O. Russell’s, mostly fictitious, account of the FBI’s Abscam sting of the 70s and 80s really gets into gear. It is a desperate and fleeting attempt from the director to place his shaggy dog tale into some semblance of reality. Although some of the salient facts are there for us to see behind all of the wigs and cleavage: an FBI agent bringing a conman on board to investigate corrupt politicians using a fake Arab sheik and some dodgy deals.
After that pinch of truth has been sprinkled over the narrative Russell abandons this recipe for something a bit more experimental and goes off-kilter with his hustle movie. Irving Rosenfeld (Christian Bale), a petty con artist and the owner of a chain of dry cleaners, is forced by Richie DiMaso (Bradley Cooper), an FBI agent keen to make a name for himself, to use his skills to assist in entrapping some big names; starting with the Mayor of Camden, Carmine Polito, (a very Elvis looking Jeremy Renner) who gets caught up in the mess whilst trying to reinvigorate New Jersey.
Richie sets up his operation after catching Irving in mid hustle whilst he and his partner, in both business and pleasure, Sydney Prosser (Amy Adams) attempt to con the undercover agent out of $5000. Sydney, an ex-stripper who has taken on the identity of a British aristocrat with banking connections, helps Irving dupe the desperate out of their money in return for imaginary loans. Irving is left to decide between helping the FBI and leaving his lover to face jail time. The couple must try and overcome this problem as well as the pesky issue of Irving’s unstable wife Rosalyn (Jennifer Lawrence) and adopted son. Rosalyn threatens to not only ruin the pair’s happiness but also the careful planning of Richie’s operation.
If this all seems like a lot to take in then it’s because the story is ultimately secondary to Russell’s rag-tag bunch of characters. At a running time of 129 minutes, the film is about half an hour too long. There are entire scenes and plot-lines that add nothing but the opportunity for the actors to really ramp up the drama and emotion. There is a spectacular scene towards the end of the film when Lawrence spends a good few minutes cleaning her house whilst angrily joining in with ‘Live and Let Die’. It is a scene that critics the world over have highlighted, quite correctly, as evidence of her increasing skill but ultimately the whole scene just feels out of place.
Then we have the clutter of side-characters that have little effect on the plot and distract from the main points. Louis C.K. turns up as Richie’s disapproving boss but, after showing a great deal of promise, is completely wasted and sidelined. There is a moment when, in a fit of anger, Richie attacks his superior with a phone but this, like pretty much every complication that arises, ends up having no real consequences. There is a moment of confrontation but the incident of violence is shrugged off and forgotten about. You get the idea that, once the basic Abscam story was written down, Russel and co-writer Eric Warren Singer just stopped caring too much about what happened.
American Hustle is a somewhat confused film that can’t quite decide what it’s trying to be. It is part con movie, part mob thriller, and part romantic-comedy, with lashings of Scorsese and hints of Boogie Nights and GoodFellas. Of course, this melting pot of genres would work well if any of the individual elements were well-crafted in their own right. As it happens, the con aspect spreads pretty thin over the whole, the mob threat ends up being fairly underwhelming, and the comedy mainly comes from a focus on crazy hair and even crazier characters.
For Russell, American Hustle
is about the ensemble having fun in the era of 70s disco excess. An ensemble fronted, of course by, the larger than life Irving; a character who offers Christian Bale the chance to further remove himself from the role of Batman by digging his teeth into the unappealing conman. Bale embraces the character and does an incredible job slowly getting to the heart of the ruthless conman caught up in a world where appearance is everything. An idea only highlighter by the opening scene when Irving, with an impressive paunch, glues, combs and sprays bits of wig and hair into an incredibly intricate comb-over. We are dealing with a man, and a film, who is concerned not just with professional disguises but personal ones too.
Something his hustling partner turned lover Sydney knows all about. Amy Adams spends the majority of the film keeping up her faux British accent for Sydney’s alter ego Lady Edith. With every film role Adams continues to prove that she is one of the most accomplished and important actresses working at the moment. She brings a vulnerability to the tough exterior of the overwhelmed Sydney and she certainly pulls off the ridiculous costumes and hair of the time of disco. She is by far and away the stand-out character and performer in the entire film and continually outclasses the less accomplished members of the ensemble.
Unfortunately, one of those cast members happens to be the usually faultless Jennifer Lawrence who sort of loses her way as Irving’s unhinged young wife. It’s not that Lawrence is awful here but she has lost a great deal of the subtlety and care that made some of her best performances so great. After winning an academy award for the psychologically scarred Tiffany in Silver Linings Playbook, Lawrence amps up the crazy to almost unstoppable proportions. Perhaps, like the characters being portrayed, gets confused by the excesses of 1970s New York. Lawrence gives this her all and gives the same dramatic performance that has littered her fantastic career but there can be no denying that she is fairly far from her greatest performance. Of course, it doesn’t help that she is continually outclasses by the superb Adams.
Still there can be no denying that I am a massive fan of Lawrence no matter what she does and she definitely fared better than her Silver Linings Playbook co-star Bradley Cooper. Cooper isn’t exactly a subtle actor and is it pretty telling that the only two nominations he has received have come from him playing larger than life and mentally unstable characters. He charges into this operation in a desperate attempt to prove his worth and spends his time violently overreacting or suppressing exclamations of glee to be included in such an accomplished cast. He is distracting and horribly sticks out alongside his co-stars. I’m still yet to be convinced that Cooper can add anything to a film other than a face most people seem to enjoy.
American Hustle is hardly a terrible film but it certainly ends up delivering a lot less than it promises. Like its leading man, American Hustle is far too concerned with the outer appearance to really worry about what’s going on underneath. Perhaps a little less time sorting out its toupee and more time working on the narrative and Russell would have had an undeniable example of perfection. This film almost makes up for its flaws thanks to its unfailing energy, dazzling aesthetics and up-for-anything cast but the narrative is too undefined, meandering and fairly repetitive. The script is not as funny as it should be and the plot lacks the detailed focus that is required of a truly great conman film. No matter what I think of Russell as a whole, there can be no denying that this isn’t the high calibre that he is capable of when he is at his best.