Two themes that continue to excite filmmakers coincide with the two main causes of crime: love and money. Money is more interesting. Gangsters rowing greens with a shovel, corrupt officials receiving bribes, treasure hunters looking for gold – all this, of course, is good, but it does not look as impressive on the screen as winning in a gambling game. This is what really excites and excites the blood! Three, seven, ace. Intellectual confrontation with the enemy. Life is like a deck of cards from PlayAmo casinos.
We present to you a selection of films about gambling: they will remind you that our life is still a game.
An underrated thriller with a feminist twist
At an appointment with a successful female psychiatrist, Margaret (Lindsay Cruz), a patient comes, claiming that he owes a debt to a mobster named Mike, and threatens to kill himself. She dissuades him from suicide and promises to help. At a meeting in a gambling house with Mike (Joe Mantegna), exuding fraudulent charm, Margaret sits at the card table for the first time in her life and soon no longer understands how she lived without excitement. Filmed in a mean theatrical manner, more reminiscent of the minimalism of the early 90s than the redundancy of the 80s with their huge shoulders and hairstyles, playwright David Mamet’s directorial debut plays up the principle of card sharpeners: “If you don’t know who is a sucker at the table, then this is you”. But the final twist clicks the viewer on the nose, making it clear that no one was entertaining us here. It was a story about a woman who woke up. And woe to those who woke her up.
The legendary lesson of male friendship and cheating
In 1930s Chicago, where everything is so mafia that gangsters are presented by nicknames, an aspiring gambler (Robert Redford) teams up with a hardened swindler (Paul Newman) to avenge the death of a mutual friend on a local mafia boss with a big mustache (Robert Shaw). Butch Cassidy and the Sundance Kid, long-term romanticized banditry, returned four years later from the Bolivian sunset to forever romanticize the swindlers. Note that not a single major social director has yet undertaken to expose such thugs. And why? Two Hollywood icons of masculinity dazzle with snow-white smiles, flaunt in striped suits designed by legendary dresser Edith Head, play Scott Joplin’s ragtime, and the audience’s heart sings when good inveterate crooks take money from the bad.
The Cincinnati Kid
The New Orleans Cincinnati Kid (Steve McQueen) knows he’s the best. In order to finally prove this to himself, he chooses as partners the one whom others consider the best. It would seem strange to call the main film about poker a picture where McQueen, with his two shards of the Arctic in his eyes, chooses half of the screen time between a blond angel (Tuesday Weld) and a red-haired devil (Ann-Margrethe) and quite often hits someone in the face. The Cincinnati Kid” is a film about a man who plays, a gambler, who exists only when he holds cards in his hands. Everything else that looms in the background (women, muzzles, life) is so, an optional addition to the only thing for which he is here.