When discussing cinematic sequels, especially those arriving decades after their originals, expectations run high. In 1986, audiences and critics approached “The Color Of Money,” the follow-up to the iconic “The Hustler,” with bated breath. This wasn’t just any sequel; it was a Martin Scorsese film, helmed by the director fresh from critical darlings like “Taxi Driver” and “Raging Bull.” Adding to the anticipation was Paul Newman’s return to his legendary role as “Fast” Eddie Felson, a character he hadn’t inhabited for twenty-five years. This extended wait rivaled the anticipation for even the “Star Wars” prequels.
Given these significant factors, the reception of “The Color of Money” upon its release was somewhat muted. While it garnered respectable praise, a prevailing sentiment emerged: it paled in comparison to “The Hustler,” and arguably, lacked the distinct Scorsese touch, leading some to believe another director could have achieved similar results. However, nearly two decades later, a re-evaluation is warranted. “The Color of Money” stands not only as a compelling and entertaining character study but also as a masterful continuation of a narrative left dormant for a quarter of a century.
Scorsese’s directorial hand, while perhaps not his most overtly celebrated work, is undeniably present and effective. Echoes of his distinctive style from “After Hours,” released a few years prior, resonate throughout the film. His signature cinematography, the use of dark, rich colors that evoke the 1980s atmosphere, and the grainy texture are all hallmarks of his visual storytelling. Furthermore, the quick cuts, dynamic zooms, and iconic panning shots Scorsese is renowned for are strategically employed. It’s important to recognize that Scorsese’s stylistic approach evolved throughout the 1980s, a shift that continued into later masterpieces like “GoodFellas.” Looking back with the benefit of hindsight and a broader understanding of Scorsese’s filmography, it becomes increasingly clear that “The Color of Money” is indeed a product of his unique vision, showcasing his constant evolution as a director. Consider the stylistic departures even in later films like “The Aviator” to see his range.
Newman’s Oscar win for “The Color of Money,” while some argue he was more deserving for “The Hustler,” acknowledges a nuanced and compelling performance. The screenplay meticulously crafts the evolution of Fast Eddie Felson, making his transformation believable and captivating for those familiar with the original film. Observing the changes in his demeanor and worldview is a significant part of the film’s appeal. Equally fascinating is the introduction of Vince Lauria (Tom Cruise), the young, brash pool hustler who mirrors Eddie’s younger self from decades prior. This dynamic creates a compelling contrast between youthful exuberance and seasoned experience.
Where “The Hustler” provided a profound exploration of a young man grappling with self-discovery and ambition within the cutthroat world of pool, “The Color of Money” delves into the subsequent stages of life. It offers a nuanced perspective on aging, mentorship, and the cyclical nature of life. A universal truth resonates through the film: the wisdom adults attempt to impart to children, often met with skepticism, gains clarity with time. “The Color of Money” embodies this principle. It subtly suggests that in thirty years, Vince, too, will likely mirror Fast Eddie – wiser, more seasoned, and perhaps even guiding a new generation of ambitious players who believe they are invincible. While the narrative arc of “The Color of Money” provides a satisfying sense of closure, eliminating the need for further sequels, the film subtly hints at the endless cycle of mentorship and ambition.
While “The Color of Money” may not be universally hailed as a cinematic masterpiece, dismissing it as merely decent is a disservice. It stands as a noteworthy film from the 1980s, possessing a depth and intelligence that initial critical assessments may have overlooked. For cinephiles, particularly those who appreciated “The Hustler,” “The Color of Money” offers a rewarding and insightful viewing experience. It’s a film that encourages a deeper consideration of character development and thematic resonance, proving that sometimes, the true color of money lies not just in the green bills, but in the experiences and transformations it represents across a lifetime.
