Jan. Glücksspiel und Casinos sind eine Hauptstütze der Filmindustrie, seit es sie gibt. Das Drama und die Spannung, die beim Glücksspiel auftreten. Die Figur bildete auch die Grundlage für das Musical und den Film Guys and Dolls und "Phantom Gambler" genannt, weil er sporadisch im Casino auftauchte. Slots casinos in florida Casino Online Spielen Kostenlos Ohne Anmeldung Online Slots Uk Android 50 lions casino online movie 3d slots Diamond vault slot .
The mob backs Rothstein but has to set up a false front while Rothstein "secretly" runs the hotel, because of his gambling charges back East. Meanwhile, mob strong-arm Nicky Santoro Pesci heads out to Vegas to protect Rothstein, but eventually ends up running his own rackets and trying to effectively take over the town.
Casino is the story of the relationship and political problems that this cast of characters and a number of associates run into.
It's roughly a gradual road to destruction for everyone involved. The film is unusual in many ways. The most prominent oddity is that a large chunk of it is told via alternated narration from the two main characters, Rothstein and Santoro.
The aim was probably to include a lot more of Pileggi's book, in a more literal way, than would have been possible through more conventional means.
It's remarkable that the narration works as well as it does, especially because a lot of it is given a rapid-fire delivery. For at least the first 15 minutes, there is barely a pause in the narrational dialogue.
One of the reasons it works is because of the style that Scorsese uses to accompany it in the opening. He employs a lot of fast cuts while presenting very stylized, documentary-like footage.
The opening feels as much like an entertaining behind-the-scenes look at how the typical casino works as it feels like a fictional film about gangsters.
This happens so subtly that one hardly notices. Scorsese's directorial style likewise evolves from the fast-cut documentary approach to something more conventional.
This is all well and good, but on the other hand, the gradual evolution can only happen because the film is so long--it clocks in just a couple minutes shy of 3 hours.
That's a bit too long for the story being told. By at least the halfway point, it starts to feel a bit draggy. All the material is necessary to the story, but it could have been tightened up a lot more.
While I like the songs--I've owned the CD since it came out and I listen to it often enough--and the songs can help set the mood for some scenes, they become a bit too incessant and overbearing for the story after awhile.
It begins to approach the dreaded "mix tape" mentality, where the songs are just there because the director wanted to share some bitchin' tunes that he likes a lot.
A bit of ebb and flow with the music, and music better correlated to the drama, would have worked even better. Presumably, Scorsese was shooting for something like a sensory assault, since that's what you get in Vegas.
The visuals are filled with neon lights, flashy clothes I love Rothstein's suits , flashy people and such. The soundtrack is probably meant to match.
But in that case, if I were directing, I think I would have went for a combination of commissioned music that incorporated a lot of casino sounds, or that mimicked a lot of casino sounds--the cacophonous electronic symphony of various machines constantly going through their modes--with schmaltzy show tunes, ala Liza, Jerry Vale, Tom Jones, Wayne Newton, etc.
That Scorsese was trying to give a Vegas-styled sensory assault is also supported by the audio-visual contrast between the Vegas scenes and the scenes in other locations, such as Kansas City.
So I can understand the motivation, but I'm not sure the final result exactly worked. Of course the performances are exceptional, even if everyone is playing to type, except for maybe Woods.
The plot and characters are written and performed so that the viewer can see the disasters coming way before the characters can--and that's how it should be.
For example, as a viewer, you know as soon as it starts that it's a bad idea for Rothstein to kowtow to McKenna to win her hand in marriage, but Rothstein is blind in love and he ends up paying for it.
Everything unfolds almost a bit predictably in this respect, and another slight flaw is that we're shown the penultimate moment of the film right at the very beginning.
It tends to make it feel even more stretched out, as you keep anticipating that scene. But the slight flaws shouldn't stop anyone from seeing this film, and of course, quite a few viewers feel that there are no flaws at all.
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Set in the era before online gambling had set down its stall, this is the tale of a maths professor Kevin Spacey training up a group of talented students to count cards in the major casinos on the Vegas strip.
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A classic any way you look at it, The Hustler is a tale set in an era when online gambling was about as close in reality to mankind living on Mars.
A chastening experience soon sees him out of pocket and down on his luck, and only the ruthless mentoring of manager Bert Gordon can take him anywhere near where he once was.
This is one of those gambling movies with its heart right in the origins of the pool-halls and backrooms that US gambling was built on.
The star duo of Paul Newman and Robert Redford — who combined so successfully over the course of their careers — play two con men, one a beginner and the other a professional.
The Sting was universally acclaimed by the critics and dominated the Academy Awards with seven wins, including Best Picture and Best Director.
Renowned playwright and screenwriter David Mamet made his directorial debut with this film about a psychiatrist who gets caught up in the world of underground gambling and con games.
In the film, psychiatrist Margaret Ford Lindsay Crouse is lured to a high-stakes poker game by a patient who is a compulsive gambler.
Although the game turns out to be a ruse to steal her money, Margaret becomes enamored with con man Joe Mantegna and soon becomes entangled in one of his double-crossing schemes.
In the film, Jack Manfred Clive Owen takes a job as a croupier in order to support himself as he writes a book. Although Jack is well aware of the dangers of gambling, against his better judgment he becomes involved in a risky scheme to cheat the casino.
In the film, Eddie makes small bets against various other small-time players before taking on and losing to champion billiards player Minnesota Fats Jackie Gleason.
However, Eddie remains obsessed with winning, and after falling in with veteran gambler Bert Gordon George C. Casino Most movies about gambling focus on the players who are trying beat the odds.