David O. Russell – We Are Movie Geeks

AMSTERDAM – Review

*(L-R): Christian Bale, Margot Robbie, and John David Washington in 20th Century Studios’ AMSTERDAM. Photo courtesy of 20th Century Studios. All Rights Reserved.*

Director/writer David O. Russell’s AMSTERDAM features a dazzling cast in a period mystery/adventure tale in which three friends, bound by a pact made during World War I, embark on a wild adventure set in 1930s New York, to solve a mystery involving murder, a secret organization, and a possible plot against America.

There really was such a plot, which is among the many historical tidbits woven into this adventure tale, that has big doses of humor and romance as well. AMSTERDAM’s story brings to mind the classic Hollywood mystery adventure tales of the 1930s or 1940s, like CASABLANCA, or early Alfred Hitchcock or maybe a spy-thriller starring Humphrey Bogart. Even though this film is not in black and white, in another sense, it kind of is. Not only is a Black man one of the main characters but the story deals with those marginalized in early 20th century America, including Black Americans and the forgotten disabled veterans of the Great War (as WWI was first known), both of which must battle an entrenched power structure of the white, wealthy and well-connected.

But, at the heart of it, AMSTERDAM is really a film about friendship – the kind of deep enduring friendship we all hope to have, a friendship forged between the trio at the center of this tale by the horrors of WWI and idyllic post-war days in Amsterdam. Most of the story takes place in 1930s New York, during the Great Depression, but there is an extended flashback to post-WWI Amsterdam, with the rising prosperity and creative freedom of the 1920s and free from the Jim Crow attitudes back in America. After the war, many real Black Americans stayed behind in Europe to enjoy that freedom.

There are three friends at the center of this tale but mostly the story is told by one of them, Dr. Burt Berendsen, a slightly offbeat character played with wonderful appeal by Christian Bale.

The three met during WWI, although we don’t know that until a flashback a bit into the film. Christian Bale plays Burt Berendsen, a compassionate half-Jewish doctor in New York who tries to help forgotten, disfigured veterans of WWI, some of whom lost a eye as he did or grapple with pain and morphine addiction as he has. Dr. Berendsen works with his closest friend and lawyer, Harold Woodman (John David Washington), a soft-spoken, well-dressed Black graduate of Columbia Law School who is committed to helping the powerless. The two share a commitment to doing good in their work and a pact they made in WWI to always have each others backs, as well as sad romantic histories. Berendsen is separated from the wife he still loves, Beatrice (Andrea Riseborough), the daughter of a prominent 5th Avenue doctor Augustus Vandenheuvel (Casey Biggs). Woodman pines for his lost love, the unconventional nurse/artist Valerie (Margot Robbie) who cared for the wounded soldier pair in a French hospital and escaped with them to an idyll in Amsterdam. The now-vanished Valerie was the third member of their friendship loyalty pact.

David O. Russell has delighted audiences with films like AMERICAN HUSTLE and SILVER LININGS PLAYBOOK, films that mix humor with drama or thriller plots, but AMSTERDAM may be his most ambitious yet. Those who saw the trailer for this new film might expect something a little more fast-paced action film than AMSTERDAM actually is (and that 1971 song in that trailer isn’t in this film, although maybe it could have been). AMSTERDAM is more a mystery thriller with a delicious humorous streak and an unexpected underlying warmth. It is funnier and more inspiring than might be expected.

Classic movie fans will notice that AMSTERDAM has strong parallels to the kind of thriller anti-fascist adventure mysteries of the 1930s and early 1940s – the kind with colorful characters, secrets and international plots. The kind of film made during the time period in which most of this film is set, although it starts during WWI, the Great War. You know, the War to End All Wars. And, of course, some of this really happened, as the film tells us at the start.

Actually, there is a surprising amount of real history woven into this fictional story. Saying how much is true might risk spoilers but there really was a fascist plot in the U.S. that was thwarted, and there really was a courageous American general who was part of that. The film’s version of that general is played by Robert De Niro in fine, military ramrod straight, morally-upright style, but the general isn’t the main character. The three main characters, a trio of friends, at the center of this adventure are played by Christian Bale, Margot Robbie, and John David Washington, with supporting roles played by Chris Rock, Anya Taylor-Joy, Taylor Swift, Zoe Saldaña, Rami Malek, Andrea Riseborough, Matthias Schoenaerts, Alessandro Nivola, Timothy Olyphant, Michael Shannon and Mike Myers. Besides the historical mystery at the center of the plot, AMSTERDAM is full of other true-history tidbits in a story ranging from the Great War through the middle of the Great Depression of the 1930s, in a rollicking tale told with humor and humanity.

For those who love movies and mysteries of the ’30s era this film is set in, and even more so if you know those films well, AMSTERDAM has special delights. The immensely charming AMSTERDAM does evoke that kind of feeling of friendships forged in hardship you see in those old movies, but it does so with David O. Russell’s signature sly humor and a bit craziness that is a bit more screwball comedy with moments of Marx Brothers, as well as nods to the present. While it is not as fast-paced as the trailer leads you to expect, it is far funnier and fun, far crazier and surprising, and with more warmth than expected, as well as all those real history references and a wonderful kind of friendship. That latter side is largely thanks to the three leads played so well and with deep feeling by Christian Bale, John David Washington and Margot Robbie.

This film is a classic Hollywood movie buffs’ delight. There is a fair dose of CASABLANCA in AMSTERDAM, including the city name in its title, but in this case, Amsterdam is more like the idyllic memories of Paris in that classic. In other ways, AMSTERDAM is like the early Hitchcock thriller THE 39 STEPS or any number of mid ’30s or early ’40s thrillers, where the hero has to beat a ticking clock to uncover a plot by “5th columnists,” a term for foreign spies with generally fascist plans. This is classic movie stuff, and the more you know about movies of that period, the more references you will get and enjoy.

Besides the many historical and period movie references, AMSTERDAM is filled with gorgeous period sets and details. AMSTERDAM also has fabulous cinematography by the great Emmanuel Lubezki, who effectively evokes the time period and sets the right emotional tones. There is an impressive bit of special effects fairly early on, thanks to visual effects supervisor Allen Maris, which jump-starts the action.

Set in mid-30s New York, we get a taste of the poor and forgotten (as this is still the Great Depression) but like the movies of that time, we spend more time visiting in the world of the wealthy untouched by those hardships. Berendsen’s wife Beatrice and her parents are part of that well-dressed set living in beautiful houses, But when are heroes’ quest takes them to the estate of millionaire Tom Voze (Rami Malik) and his stylish wife Libby (Anya Taylor-Joy), they really find the lap of luxury. They also find a surprise, one of the tale’s many plot twists.

There are plenty of those twists, humor that is either dark or farcical, and one extended flashback which gives us the essential backstory that makes it all work. The large cast come and go in dizzying fashion, with characters who reappear periodically. Among those are Michael Shannon and Mike Myers who play Henry Norcross and Paul Canterbury, a couple of spies who who are also avid birders, even if they tend to cross ethical lines, who have a penchant for speaking in riddles and metaphors – something scriptwriter/director Russell and star Christian Bale have some fun with. Other memorable turns come from Chris Rock, as attorney Woodman’s assistant, who says out loud the kind of things other Black characters might be thinking, about pervasive racism. Another is Zoe Saldana, who is wonderful as an efficient, down-to-earth autopsy nurse, Irma St. Clair, who sparks long-buried feelings in Berendsen. Matthias Schoenaerts plays a police detective, another veteran, while his clumsy, hot-headed non-veteran partner Detective Hiltz (Alessandro Nivola) rails against mocking by the veterans.

There is so much to enjoy in this entertaining, inspiring, heart-warming, history-themed adventure. AMSTERDAM packs so much in, that it may be too much for some audiences members who may become overwhelmed or even bit confused. History buffs and classic movie fans will most enjoy this big-hearted adventure, but anyone can if they are open to its message of friendship and loyalty. There is a bit of AMERICAN HUSTLE in this film, with its mix of true story facts and a personal story, but this one is bigger and better, and with a more wholesome, inspiring, patriotic and human message, even a freedom-loving, small-d democratic one.

AMSTERDAM opens Friday, Oct. 7, in theaters.

AMSTERDAM Trailer From Director David O. Russell’s New Film Is Here And Stars Christian Bale, Margot Robbie, Anya Taylor-Joy, Rami Malek And Chris Rock

The trailer and poster for AMSTERDAM, the latest film from acclaimed writer/director David O. Russell, have arrived.

A fascinating and richly intricate tale that brilliantly weaves historical fact with fiction for a timely, cinematic experience, 20th Century Studios’ and New Regency’s original crime epic about three close friends who find themselves at the center of one of the most shocking secret plots in American history, will open exclusively in theaters November 4, 2022.

“Amsterdam” stars Academy Award® winner Christian Bale, two-time Oscar® nominee Margot Robbie, John David Washington, Alessandro Nivola, Andrea Riseborough, Anya Taylor-Joy, Chris Rock, Matthias Schoenaerts, Michael Shannon, Mike Myers, Taylor Swift, Zoe Saldaña, with Oscar-winner Rami Malek and two-time Academy Award winner Robert De Niro.

Written and directed by five-time Oscar nominee David O. Russell, “Amsterdam” is produced by Arnon Milchan, Matthew Budman, Anthony Katagas, David O. Russell, and Christian Bale, with Yariv Milchan, Michael Schaefer, and Sam Hanson serving as executive producers.

(L-R): Rami Malek, Anya Taylor-Joy, and Margot Robbie in 20th Century Studios’ AMSTERDAM. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

WHAT SHE SAID: THE ART OF PAULINE KAEL Screens at Webster University February 21st-23rd

WHAT SHE SAID: THE ART OF PAULINE KAEL screens at Webster University ‘s Moor Auditorium (470 E Lockwood Ave) screens Friday February 21st, Saturday February 22nd, and Sunday February 23rd. The film begins each evening at at 7:00pm. A Facebook event can be found HERE

Regarded by Roger Ebert as having “a more positive influence on the climate for film in America than any other single person over the last three decades,” film critic Pauline Kael reigned, from the late 60s to the early 90s, as one of the most well-known, clever, and controversial figures in the industry. Having been one of the few female critics in a sea of men, unapologetic about her (often scathing) opinions, and underpaid for the influential work she did, Kael fought endlessly to preserve her title.

Pauline Kael, the New Yorker film critic for 25 years until the early 1990s, was a lightning rod of American culture. She waged a battle to be recognized and her opinions made her readers hate or love her. Her distinctive voice pioneered the art form, and was largely a result of stubborn determination, huge confidence, and a deep love of the arts. The movie also shows 20th-century movies through Pauline’s eye, and shows Pauline’s own life through moments of other movies. The filmmakers had complete access to the subject — through Gina James, Pauline’s only child and the executor of her estate; friends and colleagues; and Pauline’s personal archives. With over 30 new interviews, including David O. Russell, Quentin Tarantino, Camille Paglia, Molly Haskell, Alec Baldwin Greil Marcus, Paul Schrader, John Guare and Joe Morgenstern. Sarah Jessica Parker voices Pauline through her writing and letters.

Admission is:

$7 for the general public
$6 for seniors, Webster alumni and students from other schools
$5 for Webster University staff and faculty

Free for Webster students with proper I.D.

JOY – The Review

So, you consider yourself a very talented film maker, a very creative director with major skills? Okay, are you up for a test of your talents? Well, can you make an entertaining film out of any subject? Hmm, no prob, you say? Alright, how about a feature-length movie about a household cleaning device? A mop, that floor maintenance essential. Not just any mop, but the “Miracle Mop”. The mop’s essential to the tale, but the real focus is its origin story (that superhero trope). And the person who came up with this special tool. This was the test one of our quirkiest directors has set up for himself. Only a couple of years after the 70’s set, “abscam”-inspired AMERICAN HUSTLE, David O Russell has gathered many of the same actors (he seems to be assembling a modern repertory company) to tell the true-life fable of the woman who transformed that sloppy pantry staple. It’s the story of a woman named JOY.

Mimi (Diane Ladd), the adoring grandmother of the film’s title character narrates. We see her with preteen Joy and her step sister Peggy immersed in late 70’s TV soap operas, watching quietly along with Joy’s mother Terry (Virginia Madsen). Away from the tube Joy constructs fantasy doll dioramas as Peggy looks on with dead-eyed annoyance. Then the girls are rocked when pappa Rudy (Robert DeNiro) divorces Terry. Cut to the late 1980’s as the now nearly thirty-something Joy Mangano (Jennifer Lawrence) must deal with a load of adult problems. And I mean a mountain-sized load. She’s holding down a grueling job, taking lots of verbal abuse behind an airline counter. The long hours are warranted as the divorced mother of three is trying to keep their modest, rented Long Island home. A home that she and the kids share with Mimi. And Terry, who never leaves her bedroom as she runs TV soaps on a myriad of VHS tapes. Oh, and living in the basement is Joy’s ex-husband, aspiring singer Tony (Edgar Ramirez). And now Rudy’s latest marriage is kaput, so he must share the basement with his former son-in-law. But Rudy’s soon back on the dating scene with pre-internet dating services (classifieds and 900 numbers). Through them he begins seeing wealthy widow Trudy (Isabella Rossellini). An accident (wine spillage on the deck) on a family outing on Trudy’s boat gives Joy an idea. The still inventive lady draws up a design for a self-wringing mop. She works up a prototype, but can’t raise any interest from the retail chains or the local hardware shops. Joy then hears of the new TV fad, cable channels devoted solely to selling items directly to consumers. She travels to the headquarters of QVC (Quality Value Channel) and convinces an ambitious exec, Neil Walker (Bradley Cooper) to give her a shot. But when one of the on-camera hosts bungles the mop segment, Joy doesn’t quit. She insists Neil give her invention another try, but this time she will demonstrate it live on the air. She’s a sensation, and the phone lines are jammed with orders. Her success is not the happy ending she hoped to get as family infighting, patent lawyers, and sleazy parts suppliers scuttle the “Miracle Mop” rocket just as it leaves the launch pad. Has Joy gotten in over her head?

Showcasing her astounding versatility, Lawrence gives us a character quite different from her franchise roles in X-Men and the recently concluded Hunger Games series (in addition to her Oscar-winning part in SILVER LININGS PLAYBOOK). She projects dogged determination, intelligence, and vulnerability as the single mom vowing not to back down and settle for scraps. Even as forces conspire and plot against her, Lawrence shows us, in her eyes and body language, a woman resisting the urge to fold, to give in and give up. The supporting cast is more than up to her formidable skills. DeNiro is both endearing and aggravating as the gruff and gregarious Rudy as he turns on the charm for Trudy and tosses up roadblocks to Joy’s plans. He’s not relying on familiar acting tricks, instead giving a fresh spin on an untraditional patriarch. The marketing may be a tad misleading by suggesting that this new film is another romance with Cooper, as with PLAYBOOK. Instead he’s really part mentor and wizard to Joy as he introduces her to a new world (that of TV commerce). As she gains her confidence, we do see a twinkle in his eyes, perhaps pride, maybe attraction, but those film goers hoping for a last act clinch will be left wanting. Madsen also goes against type as a timid, sheltered soul who finally begins to rejoin the world, even turning off her soaps and leaving her bedroom. Ladd is warm and nurturing as the grandmother of everyone’s dreams. The biggest surprise may be Rossellini who is ferocious as an exotic pit bull zealously guarding her fortune. She’s charmed by Rudy, but not enough to give her daughter the keys to her kingdom. Elizabeth Rohm is terrific as the grown-up Peggy, partner and sneaky, jealous saboteur. Plus, in a delightful cameo, Melissa Rivers pays tribute to her beloved mother with her performance as QVC’s most popular celebrity saleswoman.

As with Lawrence, this project is a change for the usual hard-edged Russell. His penchant for coarse language is severely toned down, which accounts for the more family friendly PG-13 rating. There’s only one “f-bomb” (tossed off by DeNiro, of course). I did have some concern for the film’s first act that seems to play to the “wacky” exploits of another dysfunctional family. But I don’t think Russell’s losing his edge, as this story is a great tale of empowerment, especially for young woman. Hopefully all audiences will be inspired as Joy knocks down all the walls formed by the chants of “no, you can’t”. You can say it’s “Russell lite”, but the script he co-wrote with Annie (BRIDESMAIDS) Mumolo still packs an emotional wallop (and some real suspense as Joy confronts those who would cheat her). The period sets, fashions, and hairstyles are right on the mark, particularly in the use of actual TV soap stars in fantasy sequences that have them speaking to the real Long Island folks. The film’s strongest asset may be the collaboration of star and director (this is their third film in a row), harkening back to Josef von Sternberg/ Marlene Dietrich and William Wyler/Bette Davis (the only other such team today may be Paul Feig and Melissa McCarthy, who just finished their fourth flick). When Russell and Lawrence join forces, the creative sparks really fly. These two talents really make this true story, a true JOY.

4 Out of 5

Watch Jennifer Lawrence And Robert De Niro In An Extended Look At JOY

20th Century Fox has released an extended look at David O. Russell’s latest film JOY.

Starring Jennifer Lawrence, Robert De Niro, Bradley Cooper, Édgar Ramírez, Isabella Rossellini, Diane Ladd, and Virginia Madsen, the film opens in theaters Christmas Day.

JOY is the wild story of a family across four generations centered on the girl who becomes the woman who founds a business dynasty and becomes a matriarch in her own right. Betrayal, treachery, the loss of innocence and the scars of love, pave the road in this intense emotional and human comedy about becoming a true boss of family and enterprise facing a world of unforgiving commerce.

Allies become adversaries and adversaries become allies, both inside and outside the family, as Joy’s inner life and fierce imagination carry her through the storm she faces.

JOY opens in theaters on December 25, 2015.

www.JoyMovie.com
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TWITTER: https://twitter.com/JoyTheMovie
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Jennifer Lawrence Takes On The World In New JOY Trailer

“Do you pick up the gun Joy? I pick up the gun.”

There’s no stopping Jennifer Lawrence in this stirring new trailer for JOY.

With a screenplay by director David O. Russell, JOY is the wild story of a family across four generations centered on the girl who becomes the woman who founds a business dynasty and becomes a matriarch in her own right.

Betrayal, treachery, the loss of innocence and the scars of love, pave the road in this intense emotional and human comedy about becoming a true boss of family and enterprise facing a world of unforgiving commerce.

Allies become adversaries and adversaries become allies, both inside and outside the family, as Joy’s inner life and fierce imagination carry her through the storm she faces.

Jennifer Lawrence stars with Robert De Niro, Edgar Ramirez, Diane Ladd, Virginia Madsen, Isabella Rossellini, Elisabeth Röhm, Dascha Polanco and Bradley Cooper. The story is from Annie Mumolo and David O. Russell.

Like the director’s previous films, JOY defies genre to tell a story of family, loyalty, and love.

Joy (Jennifer Lawrence) comforts her daughter, Christy, in JOY.

JOY opens in theaters on December 25, 2015.

www.JoyMovie.com
FACEBOOK: www.facebook.com/JoyTheMovie
TWITTER: https://twitter.com/JoyTheMovie
INSTAGRAM: http://www.instagram.com/JoyTheMovie

Jennifer Lawrence, Robert De Niro And Bradley Cooper Star In First Trailer For David O. Russell’s JOY

20th Century Fox has released the first teaser trailer for their upcoming movie, JOY. From AMERICAN HUSTLE director David O. Russell, the film reunites SILVER LININGS PLAYBOOK actors Jennifer Lawrence, Robert De Niro, and Bradley Cooper.

Check out the trailer for the highly anticipated story of a family across four generations centered on the girl who becomes the woman who founds a business dynasty and becomes a matriarch in her own right.

Allies become adversaries and adversaries become allies, both inside and outside the family, as Joy’s inner life and fierce imagination carry her through the storm she faces.

Jennifer Lawrence stars, with Robert De Niro, Bradley Cooper, Edgar Ramirez, Isabella Rossellini, Diane Ladd, and Virginia Madsen.

The screenplay is by David O. Russell from the story by Annie Mumolo and David O. Russell. Like David O. Russell’s previous films, JOY defies genre to tell a story of family, loyalty, and love.

Keep an eye out for this one come awards season – JOY opens in theaters on December 25, 2015.

www.JoyMovie.com
FACEBOOK: www.facebook.com/JoyTheMovie
TWITTER: https://twitter.com/JoyTheMovie
INSTAGRAM: http://www.instagram.com/JoyTheMovie

AMERICAN HUSTLE Surpasses $200 Million At Worldwide Box Office

On the heels of receiving 10 Academy Award nominations – including the rare feat of scoring nods for Best Picture, Best Director, Best Screenplay, and all four acting categories – Columbia Pictures and Annapurna Pictures’ AMERICAN HUSTLE has surpassed $200 million at the worldwide box office, it was announced today by Jeff Blake, chairman, Worldwide Marketing and Distribution for Sony Pictures.

To date, the Atlas Entertainment Production starring Christian Bale, Amy Adams, Bradley Cooper, Jeremy Renner, and Jennifer Lawrence, has grossed $138.7 million in North America, setting a career high for director David O. Russell at the domestic box office, surpassing the $132.1 million take of Silver Linings Playbook.

AMERICAN HUSTLE has also proven to be just as strong a player to international audiences, grossing $64 million to date in overseas markets, with territories including Germany, Russia and Korea yet to open. The film has opened #1 in six territories – UK, Australia, New Zealand, Spain, Portugal, and Greece – and the UK box office is so strong that American Hustle has nearly tripled the box office of Silver Linings Playbook in that territory. Annapurna’s international sales company, Panorama Media, has handled international sales of the film throughout the world. Sony Pictures distributes the film in the U.S., Latin America, South Africa, and Eastern Europe (excluding Russia and the Ukraine).

AMERICAN HUSTLE is now the highest-grossing film, both domestically and internationally, for Annapurna Pictures.

Commenting on the announcement, Blake said, “Congratulations go to our filmmakers. David O. Russell has scored again with critics and audiences alike – he has delivered a tremendous film, one that has connected with moviegoers in every country around the world. I also want to congratulate Chuck Roven – a longtime friend and one of our industry’s prolific producers – on his first Oscar® nomination, as well as his fellow producers, Richard Suckle, Megan Ellison, and Jonathan Gordon on their nominations. In fact, special congratulations go to Megan on becoming the first woman with two nominations for Best Picture in one year. They and their entire cast and crew dedicated themselves to David’s vision for a truly special film, and we’re excited and gratified by their success.”

Russell sees AMERICAN HUSTLE as the third part in a trilogy of reinvention that began in The Fighter and continued in Silver Linings Playbook – and with this film, the themes play out on an even larger canvas. Armed with a vision for an alluring film unlike any other, Russell and his cast and crew met the challenge, resulting in 10 Academy Award® nominations across several branches. American Hustle has also been presented with three Golden Globe Awards, including Best Picture (Musical or Comedy), the Screen Actors Guild Award for Best Performance by a Cast, the New York Film Critics Circle Award for Best Picture, Best Supporting Actress, and Best Screenplay.

It is nominated for 10 BAFTA Awards and has been cited on over 230 top critics’ lists.

A fictional film set in the alluring world of one of the most extraordinary scandals of the 1970s, AMERICAN HUSTLE tells the story of brilliant con man Irving Rosenfeld (Christian Bale), who along with his equally cunning and seductive partner Sydney Prosser (Amy Adams) is forced to work for a wild FBI agent Richie DiMaso (Bradley Cooper). DiMaso pushes them into a world of Jersey powerbrokers and mafia that’s as dangerous as it is enchanting. Jeremy Renner is Carmine Polito, the passionate, volatile, New Jersey political operator caught between the con-artists and Feds. Irving’s unpredictable wife Rosalyn (Jennifer Lawrence) could be the one to pull the thread that brings the entire world crashing down. Like David O. Russell’s two previous films, American Hustle defies genre to tell a story of love, reinvention, and survival.

The film is directed by David O. Russell, written by Eric Warren Singer and David O. Russell, and produced by Charles Roven, Richard Suckle, Megan Ellison, and Jonathan Gordon.

www.americanhustle-movie.com

A Look At AMERICAN HUSTLE’s Production Design And Costumes

AMERICAN HUSTLE marks the third part in a three-film evolution for filmmaker David O. Russell. Beginning with THE FIGHTER, continuing with SILVER LININGS PLAYBOOK, and playing out on a larger canvas than ever before in AMERICAN HUSTLE, Russell centers on characters who are trying to change their lives through a process of reinvention.

Read Jim Batts’ 5 star review HERE.

There’s nothing more that I love about a film, especially this type of period piece drama, than the aesthetics and the work of the crew behind the scenes. We are brought into the world of AMERICAN HUSTLE through their artistic use of costumes and sets.

In recreating the 70’s, Russell relied on his longtime collaborator, production designer Judy Becker, to bring about the look he desired for the film. Becker was excited by the opportunity. Her research, combined with the screenplay, inspired her to build unique worlds for the characters that expresses who they are.

“That’s one of the things that drew me to this project,” says Russell. “So much of this movie takes place in different worlds: it’s the world of the Long Island home of Rosalyn Rosenfeld, it’s the world of Sydney Prosser’s East Side apartment, its’ the world of Richie’s Brooklyn apartment, it’s the world of the FBI with Stoddard Thorsen, it’s the museum with Irving, it’s City Hall, it’s the home of Carmine Polito with his five children and his wife in Camden, it’s the beautiful local restaurant where Carmine takes Irving out to dinner with the wives. So many, many worlds, bringing warmth to the film.”

But it wasn’t just the chance to re-team with one of her most cherished collaborators that excited her – she was also drawn to the film by the fact that it is set in New York in the 1970s. “I have been interested in tackling that period for a long time, partly because it’s my favorite period in film history,” she says. “The funny thing is, I was surprised by the world I found myself creating – instead of the gritty 1970s New York that influenced me, the movie took a more glamorous point of view.”

For a designer, Russell’s concept for the themes of American Hustle added several layers that made the project especially intriguing: because the characters are running a con, the designs would not only show who the characters are, but who they are pretending and aspiring to be. Becker’s approach is best seen in the contrast between Sydney’s New York apartment and Rosalyn’s Long Island home. “They are really contrasting worlds – what was interesting was that we used similar palettes, textures, and materials, but completely different taste levels for those two sets,” says Becker.

“For Rosalyn’s house, the character is a stay-at-home mom and housewife, a woman who clearly enjoys decorating and maybe enjoys decorating too much,” Becker laughs. “Everything is based on reality and our research, but it looks a little over-the-top: we made extensive use of foil-patterned wallpaper, different patterns, furniture from the Pace Collection, and custom-made engraved Lucite screens. It may not be tasteful, but it’s a feast for the eyes – and tells you immediately who Rosalyn is.”

To contrast Rosalyn’s home, Becker sought to make Sydney’s apartment more sophisticated and stylish.

“She lives on the Upper East Side in a white brick building – common for single girls of that era. For Sydney we created a more minimalist look; where Rosalyn had gold, Sydney has a sunny yellow; where Rosalyn had wallpaper, Sydney has neutral grasscloth,” Becker notes. “It’s sexy, the apartment of a woman who would look cool at Studio 54. When one of my assistants saw the apartment, he walked in and said, ‘Wow, I wish my girlfriend had an apartment that looked like this’ – and that’s the feeling that we wanted that apartment to have.”

With the film set in the 1970s, costume designer Michael Wilkinson had a chance to express the decade’s distinctive design through the film’s fashion. His designs further expressed the film’s theme: characters remaking themselves, transforming themselves into the people they aspire to be.

“Michael constructs each character’s personality in the fabrics they like, the colors they like, how they feel when you’re around them,” says Russell. “The cream bathing suits that he put Irving and Sydney in when they meet – this tells you a lot about them – they’re stylish, but very much of their period.”

Wilkinson explains, “The characters are wholly unique and wildly imaginative. In the script, there were a lot of opportunities to explore different social backgrounds, from the vibrant, racially diverse world of blue-collar New Jersey to ultra-fashionable Upper East Side Manhattan to the sprawling suburbs of Long Island. 1978 – the year the film takes place – is a fascinating year, because it marks the beginning of a transition away from a truly flamboyant, exaggerated lines of the 1970s and into a more streamlined, early 80s vibe.”

Clothing plays an important role in defining Bale’s and Adams’ characters. In fact, each character has over 40 costumes. “There had to be something about Irv’s clothes that was very appealing – you want to trust him, you want to believe him. There’s an aspect to his character that wants to fly a little below the radar. It’s Sydney who starts helping him find a way to present himself to the world. We played with a lot of beautiful fabrics, some colors that were quite expressive, great combinations of vests and shirts, stripes and plaids.’”

In addition to remaking Irving, Sydney is also remaking herself.

“She’s a small-town girl who arrives in New York. She has a natural sense of style – and when she meets Irv, she gets the confidence to explore it. She picks out Diane von Furstenberg dresses, wears Halston, and starts really enjoying this new silhouette, this new freedom – it’s super-sophisticated and confident.” For Sydney and for all of the characters, Wilkinson worked with real clothes from the period to be as authentic as possible. He also ended up building a lot of clothes from scratch, designing costumes for specific moments in the film.

Adams’ character is contrasted against Jennifer Lawrence’s character, Rosalyn.

Wilkinson says that the designs for Lawrence’s costumes are meant to underscore the character as another hustler. “Rosalyn is a master of emotional manipulation – she really knows how to work a person over and she uses her sexuality to push her agenda. At the same time, we had to balance that against the fact that she lives this totally boring existence in the suburbs,” Wilkinson explains. “She has wild mood swings, and this is reflected in her clothes, from her frumpy house dresses and muumuus to her ‘dressed-to-kill’ evening wear.”

Cooper’s character, the FBI Agent who falls under the spell of the hustlers he lures in, is another character remade through the film. “He starts off as someone who doesn’t care so much about how he looks,” Wilkinson says. “He’s doing things like curling his hair, but he doesn’t have a very finessed approach to what he’s doing. When he comes into contact with Irv and Sydney, it has a huge effect on him. He re-invents himself: he goes from ill-fitting polyester cotton blends to silk shirts and stylish leather jackets.”

“For Jeremy Renner’s character, David wanted to put him in pale suits,” continues Wilkinson. He had a signature way of dressing with a slightly old-school feel to it, a Rat Pack kind of boldness to it. Maybe his clothes aren’t the most up-to-date – they hark back to another era, especially when juxtaposed with the finer, sophisticated clothes we see from Irv and Sydney – but he’s a very well-dressed man expressing a New Jersey bravado, and that was fun to explore.”

In the end, it was the film’s director of photography, Linus Sandgren, who was responsible for capturing these images.

A fictional film set in the alluring world of one of the most extraordinary scandals of the 1970s, AMERICAN HUSTLE tells the story of brilliant con man Irving Rosenfeld (Christian Bale), who along with his equally cunning and seductive partner Sydney Prosser (Amy Adams) is forced to work for a wild FBI agent Richie DiMaso (Bradley Cooper). DiMaso pushes them into a world of Jersey powerbrokers and mafia that’s as dangerous as it is enchanting. Jeremy Renner is Carmine Polito, the passionate, volatile, New Jersey political operator caught between the con-artists and Feds. Irving’s unpredictable wife Rosalyn (Jennifer Lawrence) could be the one to pull the thread that brings the entire world crashing down. Like David O. Russell’s two previous films, AMERICAN HUSTLE defies genre to tell a story of love, reinvention, and survival.

AMERICAN HUSTLE – The Review

Hooray for second acts. Now, I’m not just referring to the “legitimate stage”, since most plays are in two acts (with musicals usually going to three). Well, we could apply this to films and not necessarily those based on said plays (like the upcoming AUGUST: OSAGE COUNTY). I’m referring to the second acts (or second chances) in one’s life, specifically in a career. A prime example is triple threat (writer/producer/director) David O. Russell. Hard to believe, but it’s been nearly twenty years since he exploded onto the scene with the low, low-budget art-house hit SPANKING THE MONKEY. The studios soon came calling, and he delivered a couple of modest hits. And then there was I HEART HUCKABEES, a misfire accelerated by unflattering video footage of the director losing his cool on the set which was leaked to the internet (no doubt an early “viral” video). For many folks this would have brought the curtain down on a promising film resume’, but for Russell this was merely an intermission. In 2010 he came roaring back to begin his second act with a big Oscar winner,THE FIGHTER. Last year he returned to the awards shows with SILVER LININGS PLAYBOOK. In a few months we’ll again see him at the podium for his new work, AMERICAN HUSTLE. With this trilogy featuring his growing repertory company of actors, Russell has firmly established himself as one of our most influential and entertaining film makers. And that final curtain is nowhere in sight.

After one of this year’s funniest pre-title cards, we’re plunged right into the middle of a set-up gone wrong in the late 1970’s. But things are not as they seem. Jump back a few years as we get to know small-time East Coast operator Irving Rosenfeld (Christian Bale). He’s the owner of a chain of glass-replacement shops and dry cleaners, but he’s hungry for more. Irving sets up a phony loan office that takes advantage of guys that get no help from legit sources (his clients are usually low-level crooks too). Things are going modestly well until he meets the equally hungry Syndey Prosser (Amy Adams). She adopts a British accent, complete with equally fake ties to royalty, and helps Irving reel in the big fish with more loans and forged fine art. The two soon begin a torrid affair, unknown to Irving’s wife, the flighty Rosalyn (Jennifer Lawrence), who’s got a young son from a previous marriage that Irving adores. The money keeps rolling in until the duo cons the wrong guy, undercover FBI agent Richie DiMaso (Bradley Cooper). But Richie strikes a deal with the two con artists. To avoid prison, they’ll help set up meetings with local politicos and businessmen and catch them on tape taking bribes from a fake sheik. But the small fish aren’t enough for Richie, and thanks to his publicity seeking boss, they set their sights much higher. Using the Mayor of Camden, Carmine Polito (Jeremy Renner), the trio will take down crooked congressmen. Yup, it’s the fabled “Abscam operations” of the late 70’s. But things get complicated when Richie becomes enamored of Sydney and Rosalyn tries to “help”. Irving soon realizes he is in way over his head with little chance of escaping the zealous feds (or revenge-seeking “victims”). Can he ever get return to his old life?

Russell’s repertory company is virtually a super-team of our best film actors (there is an “Avenger” in there, after all. In this team, the quarterback is definitely Bale who’s almost unrecognizable as the corralled con-man. Much will be made of his weight gain (just weeks after his lean, mean OUT OF THE FURNACE, this guy could never be stuffed in the bat-suit) and the most outrageous comb-over since KINGPIN, but Bale shows us Irving’s humanity and , surprisingly, his dignity. There’s a line he won’t cross, no matter how hard the big boys push him. He won’t “take” anyone, that doesn’t deserve being “taken”. Besides capturing his heart, Adams as Sydney shares Irving’s moral code. Much will also be made of Ms. Adam’s appearance too, as she his dressed in all manner of low, loooow-cut, clinging disco-ready attire (quite “gasp-inducing”). But her look is just one weapon of the character’s formidable arsenal. She’s “whip-smart”, able to think on her feet while keeping two steps ahead of any drooling dullards. One of which is Cooper, who seems the most at ease he’s ever been on-screen despite the too-tight polyester suits and the even tighter hairstyle mini-curls. Richie is all dogged determination and ruthlessness. His eyes are on that prize (big bribe busts and promotions) with no concern over who gets hurt in his quest. Well, there is his concern, and lust, with Sydney, who just might be his kryptonite (you knew I’d make a reference to the past Summer’s Adams co-starring blockbuster). And then there’s Lawrence as the last corner of this love quadrangle. Her take on the Judy Holliday (google her, kids!) blonde bombshell has much of the toughness of her past roles, but with the comedic flare she displayed in last year’s PLAYBOOK. Rosalyn, in her clueless determination, almost becomes an oblivious blonde twister leaving wrecked plans and people in her wake. Kudos to Russell for the big bathroom confrontation between the two women in Irving’s life. What a “throw-down”! Renner makes the city politico more than an immaculately coiffed blue-collar back-slapping buffoon. He’s not a live action “Mayor Quimby”, but a guy who truly loves his family and community. The people on the streets aren’t just votes to him. These stars are surrounding by several gifted supporting players, especially comic Louis CK as Richie’s abused boss (is there anyone really worthy of his ice-fishing story?).

Mr. Russell proves to be a cinematic master chef. mixing GOODFELLAS with BOOGIE NIGHTS, and mixing in a dash of ARGO and a sprinkle of THE STING to give us this year’s grandest movie banquet. The fabulous fashions and hairstyles always feel natural and never distract from this “fact-inspired” tale of ambition and desire. And, oh, that top 40 pop soundtrack! I’d say a bit more, but I don’t wish to spoil any surprises! Film fans will be indeed fortunate if Russell continues this winning streak during his career’s superb second act. This motley group of 1970’s era lowlifes and G-men make AMERICAN HUSTLE one of 2013’s most delightful, enthralling, entertaining motion pictures. And remember, “No metal in the ‘science-oven’ !”.

5 Out of 5

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