The Grifters (film)

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The Grifters
TheGrifters.jpg
theatrical release poster
Directed by Stephen Frears
Produced by
Written by Donald E. Westlake
Based on The Grifters
by Jim Thompson
Starring
Music by Elmer Bernstein
Cinematography Oliver Stapleton
Edited by Mick Audsley
Production
company
Distributed by Miramax Films
Release date
  • December 5, 1990 (1990-12-05)(US limited)
  • January 4, 1991 (1991-01-04)(US wide)
Running time
110 minutes
CountryUnited States
LanguageEnglish
Box office$13,446,769

The Grifters is a 1990 American neo-noir crime drama film directed by Stephen Frears, produced by Martin Scorsese, and starring John Cusack, Anjelica Huston and Annette Bening. [1] The screenplay was written by Donald E. Westlake, based on Jim Thompson's novel of the same name.

Neo-noir is a modern or contemporary motion picture rendition of film noir. The term film noir was applied to crime movies of the 1940s and 1950s, most produced in the United States, which have an 1920s/1930s Art Deco visual environment. It meant dark movie, indicating a sense of something sinister and shadowy, but also expressing a style of cinematography. The film noir genre includes stylish Hollywood crime dramas, often with a twisted dark wit. Neo-noir has a similar style but with updated themes, content, style, visual elements or media.

Stephen Frears British film director and producer

Stephen Arthur Frears is an English film and television director. Frears has directed numerous films since the 1980s including My Beautiful Laundrette, Dangerous Liaisons, High Fidelity, The Queen, Philomena, and Florence Foster Jenkins. He has been nominated for two Academy Awards for Best Director: for The Grifters and The Queen. In 2008 The Daily Telegraph named him among the 100 most influential people in British culture.

Contents

Plot

Lilly Dillon is a veteran con artist. She works for Bobo Justus, a mob bookmaker, making large cash bets at race tracks to lower the odds of longshots. On her way to La Jolla for the horse races, she stops in Los Angeles to visit her son Roy, a small-time grifter whom she has not seen in eight years. She finds him in pain and bleeding internally after one of his victims caught him pulling a petty scam and hit him in the stomach with a bat. When medical assistance finally comes, Lilly confronts the doctor, threatening to have him killed if her son dies.

The American Mafia or Italian-American Mafia is a highly organized Italian-American criminal society. The organization is often referred to by members as Cosa Nostra and by the government as La Cosa Nostra (LCN). The organization's name is derived from the original Mafia or Cosa nostra, the Sicilian Mafia, and it originally emerged as an offshoot of the Sicilian Mafia; however, the organization eventually encompassed or absorbed other Italian-American gangsters and Italian-American crime groups living in the United States and Canada that are not of Sicilian origin. It is often colloquially referred to as the Italian Mafia or Italian Mob, though these terms may also apply to the separate yet related organized crime groups in Italy.

Bookmaker organization or person that takes bets on sporting events

A bookmaker, bookie, or turf accountant is an organization or a person that accepts and pays off bets on sporting and other events at agreed-upon odds.

La Jolla Community of San Diego in California, United States

La Jolla is a hilly, seaside community within the city of San Diego, California, occupying 7 miles (11 km) of curving coastline along the Pacific Ocean within the northern city limits. The population reported in the 2010 census was 46,781.

At the hospital, Lilly meets and takes an instant dislike to Roy's girlfriend, Myra Langtry, who is a few years older than her son. Lilly urges her son to quit the grift, saying he literally does not have the stomach for it. Because she leaves late for La Jolla, she misses a race where the winner was paying 70 to 1. For this mistake, Bobo burns her hand with a cigar.

Myra, like Roy and Lilly, plays all the angles. When her landlord demands payment of late rent, she uses her sex appeal to lure him into bed and forget the rent. She makes a similar offer to a jeweler to get what she wants for a gem she is trying to pawn.

Upon leaving the hospital, Roy takes Myra to La Jolla for the weekend. On the train, she notices his conning a group of sailors in a rigged dice game. Myra reveals to Roy that she is also a grifter and is looking for a new partner for a long con. She describes her association with a con man named Cole and how they took advantage of wealthy marks in business cons, including a greedy oil investor, Gloucester Hebbing. A flashback scene in a plush office building culminates in a fake FBI raid with a fake shooting of Myra to discourage Hebbing from going to the police.

Roy, who insists on working only short-term cons, resists the proposition, fearing she may try to dupe him. Myra, seeing Lilly's power over Roy, accuses him of having an incestuous interest in Lilly. Infuriated, Roy strikes her. Myra then plans her revenge. She lets it be known that Lilly has been stealing from Bobo over the years and stashing money in the trunk of her car. Lilly is warned by a friend and flees. Myra follows with the intention of killing her.

Roy is called by the Phoenix police to come and identify his mother's body, found in a motel room with the face disfigured by a gunshot wound. While identifying it as Lilly's, he silently notes that there is no cigar burn on the corpse's hand. Coming home, he finds Lilly trying to steal all of his money. Lilly reveals that she shot Myra in self-defense at the motel and arranged the scene to appear as though Myra's body was actually Lilly's. Roy refuses to let Lilly depart with his money. Lilly pleads with him, then attempts to seduce him, even going so far as to tempt Roy by claiming he is not really her son. Roy rejects her, disgusted. Angered, Lilly swings a briefcase at him, unintentionally breaking a glass, sending glass shards into his neck, slashing an artery.

Lilly sobs while she packs the money as her son bleeds to death on the floor. She takes the elevator to the parking garage, gets into Roy's car, and drives into the night.

Cast

Production

The project originated with Martin Scorsese who subsequently brought in Stephen Frears to direct while he produced. [2] Frears had just finished making Dangerous Liaisons and was looking for another project when Scorsese approached him. [3] The British filmmaker was drawn to Thompson's "tough and very stylistic" writing and described it, "as if pulp fiction meets Greek tragedy". [3] Scorsese looked for a screenwriter, and filmmaker Volker Schlöndorff recommended Donald Westlake.

<i>Dangerous Liaisons</i> 1988 film by Stephen Frears

Dangerous Liaisons is a 1988 American period romantic drama film directed by Stephen Frears and written by Christopher Hampton based on his play Les liaisons dangereuses which was the adaptation of the 18th-century French novel of the same name by Pierre Choderlos de Laclos. It stars Glenn Close, John Malkovich, Michelle Pfeiffer, Swoosie Kurtz, Mildred Natwick, Peter Capaldi, Keanu Reeves and Uma Thurman.

Pulp magazine magazine printed on cheap, wood-pulp paper

Pulp magazines were inexpensive fiction magazines that were published from 1896 to the 1950s. The term pulp derives from the cheap wood pulp paper on which the magazines were printed. In contrast, magazines printed on higher-quality paper were called "glossies" or "slicks". The typical pulp magazine had 128 pages; it was 7 inches (18 cm) wide by 10 inches (25 cm) high, and 0.5 inches (1.3 cm) thick, with ragged, untrimmed edges.

Greek tragedy is a form of theatre from Ancient Greece and Asia Minor. It reached its most significant form in Athens in the 5th century BC, the works of which are sometimes called Attic tragedy. Greek tragedy is widely believed to be an extension of the ancient rites carried out in honor of Dionysus, and it heavily influenced the theatre of Ancient Rome and the Renaissance. Tragic plots were most often based upon myths from the oral traditions of archaic epics. In tragic theatre, however, these narratives were presented by actors. The most acclaimed Greek tragedians are Aeschylus, Sophocles and Euripides.

Frears contacted Westlake who agreed to reread the Thompson novel but, after doing so, turned the project down, citing the story as "too gloomy." Frears then phoned Westlake and convinced him that he saw the story as a positive one if considered as a story of Lilly's drive to survive. Westlake changed his mind and agreed to write the adaptation. [2] Frears was unsuccessful, however, at convincing Westlake to write the script under his pseudonym "Richard Stark," a name he had used to write 20 noir-influenced crime novels from 1962 through 1974. (Stark's name appears in the film, though, on a sign reading "Stark, Coe and Fellows"; Westlake explains in the film's commentary track that he has written novels as Richard Stark, Tucker Coe and "some other fellows.")

Meanwhile, John Cusack had read Jim Thompson's novel in 1985 and was so impressed by it that he wanted to turn the book into a film himself. [4] When Cusack found out that Scorsese and Frears were planning an adaptation, he actively pursued a role in the project. Cusack has said that he saw the character of Roy Dillon as "a wonderfully twisted role to dive into." [4] To research his role, he studied with real grifters and learned card and dice tricks as well as sleight-of-hand tricks like the $20 switch that his character does in the film. He even successfully pulled off this trick at a bar on a bartender he knew well. [5]

For the role of Lilly, Frears originally considered Cher but she became too expensive after the success of Moonstruck . [6] Sissy Spacek also read the part of Lilly Dillon.

Frears first contacted Anjelica Huston about playing Lilly in 1989 while she was filming Crimes and Misdemeanors , but after reading the script, she was unsure. [7] A few months later, Frears contacted Huston again to see if she was still interested. [7] He was reluctant to cast her because she looked like "a lady" and decided to cheapen her look with a bleached blond wig and "vulgar clothes." [3] Huston read the script again and felt more passionate about the part and was cast in the role. To research her part, she studied women dealers at card parlors in Los Angeles County, California. [7]

The shoot was emotionally challenging for Huston. After completing the final scene between Lilly and Roy, she was so drained from the experience that she ran from the set and the studio. It took her hours to recover. [7] After shooting the scene where Bobo Justus tortures Lilly for betraying him, Huston was so affected by the rough quality of the scene (which did not make the final cut of the film) that she spent that night throwing up. [7]

Reception

The Grifters had its world premiere on September 14, 1990 at the Toronto Festival of Festivals at the Elgin Theater. [3] [8] The film had a brief Academy Award-qualifying run in New York City and Los Angeles before opening wide in January. [9]

The film received positive reviews from critics, as it holds a 90% rating on Rotten Tomatoes based on 39 reviews.

Box office

The movie was successful in its limited run. [10]

Accolades

AccoladeCategoryRecipients and nomineesResults
20/20 awardsBest PictureThe GriftersNominated
Best Adapted Screenplay Donald E. Westlake Nominated
Best Lead Actress Anjelica Huston Nominated
Best Supporting Actress Annette Bening Won
Academy Awards Best Director Stephen Frears Nominated
Best Screenplay Based on Material from Another Medium Donald E. WestlakeNominated
Best Lead Actress Anjelica HustonNominated
Best Supporting Actress Annette BeningNominated
Boston Society of Film Critics awards Best Lead Actress Anjelica HustonWon
British Academy Film Awards Best Supporting Actress Annette BeningNominated
Casting Society of America awardsBest Casting for Feature Film, Drama Juliet Taylor Nominated
Chicago Film Critics Association awards Best Lead Actress Anjelica HustonNominated
Dallas–Fort Worth Film Critics Association awards Best Picture The GriftersNominated
Best Director Stephen FrearsNominated
Best Lead Actress Anjelica HustonNominated
Best Supporting Actress Annette BeningNominated
Edgar Awards Best Motion Picture Donald E. WestlakeWon
Golden Globe Awards Best Lead Actress in a Motion Picture - Drama Anjelica HustonNominated
Independent Spirit Awards Best Feature Robert A. Harris
Jim Painter
Martin Scorsese
Won
Best Female Lead Anjelica HustonWon
London Film Critics' Circle awards Newcomer of the Year Annette BeningWon
Los Angeles Film Critics Association awards Best Lead Actress Anjelica HustonWon
National Board of Review awards Top Ten Films The GriftersWon
National Society of Film Critics awards Best Film The GriftersNominated
Best Director Stephen FrearsNominated
Best Screenplay Donald E. WestlakeNominated
Best Lead Actress Anjelica HustonWon
Best Supporting Actress Annette BeningWon
New York Film Critics Circle awards Best Film The GriftersNominated
Best Lead Actress Anjelica HustonNominated
Writers Guild of America Award Best Screenplay Based on Material from Another Medium Donald E. WestlakeNominated

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References

  1. "The Grifters". Turner Classic Movies. Retrieved March 28, 2016.
  2. 1 2 Bygrave, Mike (July 16, 1990). "A Shot at Point Blank". The Guardian.
  3. 1 2 3 4 Kelly, Deirdre (September 15, 1990). "An English Director on Challenge of Making his First Yankee Flick". The Globe and Mail .
  4. 1 2 Van Gelder, Lawrence (August 31, 1990). "At the Movies". New York Times.
  5. Goodman, Joan (January 31, 1991). "Getting the Drift of the Grift". The Guardian.
  6. Johnston, Sheila (January 31, 1991). "The Innocent Abroad". The Independent.
  7. 1 2 3 4 5 Sharkey, Betsy (December 2, 1990). "Anjelica Huston Seeks the Soul of a Con Artist". New York Times.
  8. Harris, Christopher (August 29, 1990). "Frears to Attend Premiere". The Globe and Mail.
  9. Green, Tom (December 11, 1990). "Haute Huston". USA Today.
  10. "'Home Alone' Fends Off Yet Another 'Intruder' : Box Office: Vietnam War film opens to mediocre business as comedy remains on top for 10th week. After four weeks of release, 'Godfather Part III' drops to 12th". Los Angeles Times . Retrieved 2012-06-03.