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艾迪（保罗·纽曼 Paul Newman 饰）是一位技艺高超的桌球赌博师，在一次竞争激烈的比赛中，艾迪败给了对手胖子（杰基·格黎森 Jackie Gleason 饰），失败带来的打击让心高气傲的艾迪一蹶不振。一次偶然中，失意的艾迪在咖啡店里遇见了名叫莎拉（派珀·劳瑞 Piper Laurie 饰）美丽女子，两人很快坠入了爱河。 然而，莎拉的爱并没能让艾迪在挫败感中获得救赎，野心的火焰终日在艾迪的心中燃烧带来着疼痛与焦灼。一个名叫伯特（乔治·C·斯科特 George C. Scott 饰）的男人找到艾迪，希望能够当他的经纪人。在两人的努力之下，艾迪终于获得了梦寐以求的成功，可与此同时，他深爱着的莎拉却选择了离开。生死交锋 2023火龙对决国语版10-10火之谜灵异之城第五季手到擒来1995百味超市第一季老爸老妈的浪漫史 第一季鹿角男孩第一季威尼斯商人2004招惹金刚王：死亡救赎山东味道 第三季钱之所在我是传奇（国语版）世界，众生和恶魔回家 - 在家里凡妮莎海辛 第四季马柔本宅秘事突击中央银行真假学园4谍影迷情 第一季开箱有喜张三丰之末世凶兵少男奶爸第四季祝祭军火大劫案你是好孩子朋友的妻子夜间公演老房之秘不解之缘2024永不沉没的莫莉·布朗灯火阑珊小鸡快跑超级英雄医院第一季泪眼杀星之八百龙兵团你想要的一切天官赐福（国语版）春心荡漾2005
艾迪（保罗·纽曼 Paul Newman 饰）是一位技艺高超的桌球赌博师，在一次竞争激烈的比赛中，艾迪败给了对手胖子（杰基·格黎森 Jackie Gleason 饰），失败带来的打击让心高气傲的艾迪一蹶不振。一次偶然中，失意的艾迪在咖啡店里遇见了名叫莎拉（派珀·劳瑞 Piper Laurie 饰）美丽女子，两人很快坠入了爱河。 然而，莎拉的爱并没能让艾迪在挫败感中获得救赎，野心的火焰终日在艾迪的心中燃烧带来着疼痛与焦灼。一个名叫伯特（乔治·C·斯科特 George C. Scott 饰）的男人找到艾迪，希望能够当他的经纪人。在两人的努力之下，艾迪终于获得了梦寐以求的成功，可与此同时，他深爱着的莎拉却选择了离开。生死交锋 2023火龙对决国语版10-10火之谜灵异之城第五季手到擒来1995百味超市第一季老爸老妈的浪漫史 第一季鹿角男孩第一季威尼斯商人2004招惹金刚王：死亡救赎山东味道 第三季钱之所在我是传奇（国语版）世界，众生和恶魔回家 - 在家里凡妮莎海辛 第四季马柔本宅秘事突击中央银行真假学园4谍影迷情 第一季开箱有喜张三丰之末世凶兵少男奶爸第四季祝祭军火大劫案你是好孩子朋友的妻子夜间公演老房之秘不解之缘2024永不沉没的莫莉·布朗灯火阑珊小鸡快跑超级英雄医院第一季泪眼杀星之八百龙兵团你想要的一切天官赐福（国语版）春心荡漾2005
长篇影评
1 ) 笔记
艾迪追求纯粹的台球本身，外在行为表现在他一定要让胖子口头认输，而不屑于仅仅赢钱，内在动机于野餐时向莎拉坦诚的内容，有天赋者的前提之一在于享受这个过程。正因为他的坦诚，莎拉也向他坦诚自己的绝对爱意，并认为他赢了，他有其他人没有的东西。
想要将艾迪的天赋变现，需要伙伴这一角色，前面的伙伴过于软弱，后来的伙伴过于残酷，他们是投资方，也是投机者，通过布局，将艾迪的天赋变成实打实的钞票。一旦艾迪成熟，分成可以从七五到五五甚至两三成，因为艾迪可以找到任何聪明且资金雄厚的伙伴，最大的投资永远在迈入成熟期的过程之中。
莎拉之于艾迪，更加成熟世故，珍贵艾迪的才能与天赋。面具一说，对比开场与退场跟胖子的赌，开场的艾迪喜怒都写在脸上，胖子不动声色，结尾他一丝不苟，得体且懂分寸，特质character，与面具有一定的关系。成长的过程需要牺牲。
莎拉自杀的直接原因大概是想要牺牲自己换的艾迪的清醒认识。她在他，而不是隔壁的自己的卫生间里自杀，且穿着睡衣，想必艾迪能明白发生了什么。那个年代，女性更加被动，低下，如今哪部电影的正面形象的男主角敢无理取闹扇女主耳光的。
2 ) Mr. Newman's sex appeal, and some other thoughts
In a nutshell, The Hustler, and its sequel – The Color of Money – twenty-odd years later, are films about the relationships among a talented but immature young man, his love interest, and the seasoned veteran who exploits / trains the young man’s talent.
Of course, this is a serious over-generalization; still, it would be interesting to compare the two films, a quarter of a century apart, not the least because of Paul Newman, who stars in the same role in both films.
What to me was most impressive about The Hustler was the opening. The charismatic Mr. Newman – and boy does he appear so young! – captures the audience effortlessly, with that big and almost childish (but nonetheless potently charming) smile. If I were female I would probably have fallen for Mr. Newman at that instant – and by saying so I am probably already revealing too much of my fondness for this actor.
But of course, the film would not be a classic if it were simply a stage for Mr. Newman’s sex appeal. And the light humor of the film’s opening is deceptive, in that the rest of this 135 minute film is decidedly somber.
Mr. Newman, who plays “Fast” Eddie Felson, is a talented young pool hustler – that is, he makes money by playing and gambling at the pool table. When he losses an opportunity to beat Minnesota Fats, who is “the best player” in the country, he is determined to stick around until he has enough money to challenge Fats again. In the process, he hooks up with a mysterious young girl named Sarah (Piper Laurie, in an Oscar-nominated role), and seeks out a sly gambler / bookmaker (Bert, played by George C. Scott) to help him raise money.
Eddie’s relationship with Sarah is a fragile one – both do not talk about their respective histories, and at face value their relationship seems to be blank besides the physical pleasures. However underneath the silence is their obvious and straightforward affection for each other, and you get the sense that, despite their past pains, and the uncertainties ahead, this young couple is willing to risk their hearts for love.
The film is clever in setting up this fragile relationship first, and then insert Bert the semi-antagonist into the picture, thus changing the dynamics. Sarah appears to see through Bert, and vice versa; Eddie, on the other hand, is desperate enough to be willingly exploited. The film’s climax is presented when Eddie is forced to make a choice.
As someone else commented, the brilliance of The Hustler is how it directs the audience. For almost two whole hours, the audience eagerly awaits the rematch between Eddie and Fats, and all the while we have probably already developed various scenarios of how it would look like in our heads – but by the time it does happen, the film has already turned in another direction, and while the rematch is as we had expected, we have been taught a bigger lesson – that there are more things to life than winning and losing.
8/10
http://www.dani19.com/2009/03/16/the-hustler-1961/
Of course, this is a serious over-generalization; still, it would be interesting to compare the two films, a quarter of a century apart, not the least because of Paul Newman, who stars in the same role in both films.
What to me was most impressive about The Hustler was the opening. The charismatic Mr. Newman – and boy does he appear so young! – captures the audience effortlessly, with that big and almost childish (but nonetheless potently charming) smile. If I were female I would probably have fallen for Mr. Newman at that instant – and by saying so I am probably already revealing too much of my fondness for this actor.
But of course, the film would not be a classic if it were simply a stage for Mr. Newman’s sex appeal. And the light humor of the film’s opening is deceptive, in that the rest of this 135 minute film is decidedly somber.
Mr. Newman, who plays “Fast” Eddie Felson, is a talented young pool hustler – that is, he makes money by playing and gambling at the pool table. When he losses an opportunity to beat Minnesota Fats, who is “the best player” in the country, he is determined to stick around until he has enough money to challenge Fats again. In the process, he hooks up with a mysterious young girl named Sarah (Piper Laurie, in an Oscar-nominated role), and seeks out a sly gambler / bookmaker (Bert, played by George C. Scott) to help him raise money.
Eddie’s relationship with Sarah is a fragile one – both do not talk about their respective histories, and at face value their relationship seems to be blank besides the physical pleasures. However underneath the silence is their obvious and straightforward affection for each other, and you get the sense that, despite their past pains, and the uncertainties ahead, this young couple is willing to risk their hearts for love.
The film is clever in setting up this fragile relationship first, and then insert Bert the semi-antagonist into the picture, thus changing the dynamics. Sarah appears to see through Bert, and vice versa; Eddie, on the other hand, is desperate enough to be willingly exploited. The film’s climax is presented when Eddie is forced to make a choice.
As someone else commented, the brilliance of The Hustler is how it directs the audience. For almost two whole hours, the audience eagerly awaits the rematch between Eddie and Fats, and all the while we have probably already developed various scenarios of how it would look like in our heads – but by the time it does happen, the film has already turned in another direction, and while the rematch is as we had expected, we have been taught a bigger lesson – that there are more things to life than winning and losing.
8/10
http://www.dani19.com/2009/03/16/the-hustler-1961/
3 ) 最烂的情人
保罗·纽曼 饰演的最烂的情人。除了做爱和酒精，他和他的女孩儿还能交流什么？他可怜的女朋友，他的女仆，爱着他，扭曲的，病态的，卑微的爱着他。可他眼里只有赢钱和荣耀，赢钱就是荣耀。
虽然是美国电影，但是却是法国新浪潮的风格。这个电影恰恰说明了用心发明和掌握技术和拥有天赋的人是永远拼不过贼和规则的制定者。你再有天赋，也是要受人摆布。你所创造的价值也要让别人抽走一半甚至更多。可是如果没有规则制定者为你保驾护航，你便毫无价值 他们可以轻而易举的拗断你的手指，让你就此报废。识时务者为俊杰，意思是你要懂事认输和低头。
可悲
虽然是美国电影，但是却是法国新浪潮的风格。这个电影恰恰说明了用心发明和掌握技术和拥有天赋的人是永远拼不过贼和规则的制定者。你再有天赋，也是要受人摆布。你所创造的价值也要让别人抽走一半甚至更多。可是如果没有规则制定者为你保驾护航，你便毫无价值 他们可以轻而易举的拗断你的手指，让你就此报废。识时务者为俊杰，意思是你要懂事认输和低头。
可悲
4 ) 关于那个女人
咖啡店的早晨，落魄的艾迪和美丽神秘的女子莎拉相遇了，两个人很快住在了一起，两个人的背后都有着一些故事。两个人住在廉价的房间里 一段时间整天就是喝酒做爱，不谈任何感情，也不谈各自的故事，彼此像陌生人一样住在一起。终有一天，莎拉表达了自己对艾迪的爱意，并希望能够激励艾迪。但艾迪始终没有说出那三个字。关于最后面女人的死我的看法是女人希望通过自己的死来让男人看清楚一些事情，然后真正成熟起来。。
5 ) 还不错 可是时代的关系 我们的共鸣并不强
电影和演员都是好的.
但是确实由于时代关系,我们看的东西太多,
对此很难引起大的共鸣,所以,我们只能觉得是个中上的片.
但是确实由于时代关系,我们看的东西太多,
对此很难引起大的共鸣,所以,我们只能觉得是个中上的片.
6 ) 台球
保罗·纽曼的另一部作品The Color of Money可算是本片的续集,两片都比较平淡,喜欢台球的朋友可以看看
保罗纽曼六零年代“H”系列电影：Hustler (1961)，Hud (1963)，Harper (1966)，Hombre (1967)……
不会打桌球，对这片子也本身无感，可不知为什么，在影片的最后几分钟，我竟然有些喜欢它了。曲终人散落幕后，你是否找回了自己呢？纽曼的表演精湛！
反高潮的另类体育片，没有热血奋斗，更多的是自我挣扎和在破碎中重建的过程。桀骜狂妄不服输的赌徒台球手，从小身心都有缺失的酒鬼女孩，两个人在自毁倾向的道路上遇到彼此，拯救彼此，又永远错过彼此……Eddie对胜利的瘾让他成为金钱的奴隶，最后一场球赛的胜利没有获胜的兴奋，只有失去爱人的痛楚和怒火，还有挣脱摆布的决绝。Paul Newman迷人程度爆棚，但也缓解不了本片给人的心塞感，George C. Scott那幕恶魔低语简直绝了。
开头很利索，中间较磨叽，结尾没大战。George C. Scott就是爱抢啊。
不是保罗·纽曼最好的作品，也不是同类电影中最好的，一般吧。
9.0/10。①前段是心高气傲的男主输了台球对决一蹶不振却成功与女主相爱，后段是男主经过各种努力拿了台球比赛冠军但却因过于事业导致女友自杀。②摄影水平很高（光影/构图），几段台球桌对决处理（调度、剪辑、叠化省略等）地非常好。③作为传统情节剧，叙事节奏太拖（虽然这种慢倒也贴合影片的压抑氛围）。
8。Newman和后来的金钱本色里演同一个角色，可以看作是前传吧。不过我怎么感觉这部比后来Newman表现的好，难道是20多年后Newman留了个性感的胡子？
在硬盘存放了足足两年，如今翻出来看实在是感到愧疚，怎会有如此优秀的电影，可又是那样的悲伤。我可能真的对这些在迷惑中渐渐走向毁灭的电影情有独钟（无因的反叛、阿飞正传），可是又难以忍受它过后所带来的余震，爱又恨，大概就是这样吧。彻底被 Paul Newman 的演技折服。
1.绝对是我看过的最非主流&反类型却又极为给劲的运动片。2.两次对决的反高潮设置+双重反讽的剧作：失却爱情-拥抱胜利，折损职业生涯-逃离奴役之网；在此，竞技层面上的"赢"已然沦为撒旦式的邪魔。3.两位影帝演技极佳。4.精致的摄影与台球对决段的绝佳剪辑。5.perverted,twisted,crippled。（9.5/10）
保罗纽曼耍帅，乔治·斯科特邪气逼人，堕落和觉悟的抗争。狭窄台球室里的场景调度和围绕台球桌的镜头运动，别具一格的体育片。
【B-】女主居然后来演了魔女嘉莉里的变态老妈。。。。完全没看出来。故事太无聊了实在。
重看（和无辜的人同年作品），是部佳作，但看得让人筋疲力尽。好莱坞剧本中挺异类的一部了，有种海明威+菲茨的感觉，无用的意义和随时随地的堕落，说是体育片，实际上更像是青春片+社会派作品。摄影和剪辑有种好莱坞+新现实主义的感觉，好看的真实以及修饰了的粗粝。保罗纽曼的演技的确不逊于詹姆斯迪恩，而且更有青年的韧劲儿，不过可惜女主角演员的演技，唉，刻意的无精打采=无意义，没揣摩好角色。
《江湖浪子》(The Hustler)译名真邵氏啊！我把它看成《金钱本色》前传！PN属于年轻英气逼人，老迈成熟有魅，美貌演技并存的那一类，长的娘，演来却无比爷们，痞气掺和着正气，和MB还不一样。片是好的，正常发挥的那一类，爱情是最大的武器总是美国电影逃不开的主题？！
看保罗纽曼耍帅、打台球 本来就很不错了 但真正让人意料的是电影对类型题材的突破和思考深度 只可惜这个导演太不行 节奏啦镜头啦台词啦 通通都没有亮点 前50分钟基本上只演了3幕戏 这样的掌控 实在太恐怖
4星+paul newman那张脸啊。虽然是老简单额故事，但是被老式独白和黑白片一表达就显得牛B深奥啊，赞。
这编导和剪辑真够搓的，那个二层台球大厅的选景不错，光影的把控也见技术，配乐亦可，不过这个简单的故事排布的明显失衡，开场就是靠赌台球混江湖的纽曼二人组登场，接着就是和宿敌的一番战，而这块儿居然耗时半小时，此后的一小时是台词无趣人物扁平的爱情戏加经济人斯科特的介入（这个角色在第一部分就出场但给了不少镜头却全无发挥），结尾又收的匆忙，节奏上完全失控了。纽曼跑江湖却全不惧行差踏错，只是一心求胜，这角色原本就立不住，而且对他何以纠结于战胜台球冠军也无甚铺垫，爱情戏也是来的浮皮潦草（反正纽曼就是冷着脸硬上硬上的近乎性骚扰），所以最后这片子的主题是个什么？江湖子弟江湖老，家庭女人都扯淡——这种？对不起，看看人家《情枭的黎明》是怎么铺垫的吧，这片子里的人物只能说是二逼
保罗·纽曼在这里的形象真棒，狂妄、桀骜不驯的天才台球手。充满魅力的形象会让你一直把目光集中在他的身上。
If you ever say them I'll never let you take them back.
这部属于保罗纽曼的欲望号街车和无因反叛。。尤物指数确实爆灯！男性社团的荒唐和邪恶力量被曝露出来，但结尾还嫌温情化了。保罗纽曼要两杯酒时贴着脸比出两个手指头那幕。。能不能评为史上最骚演出之一呢？
虽然反高潮，但着实是老式闷骚，就算是纽曼的不羁和斯科特的阴狠也不能让人振奋。