The Cincinnati Kid-1965

Director Norman Jewison

Starring Steve McQueen

Scott’s Review #1,138

Reviewed April 29, 2021

Grade: B

I suppose anyone really into poker playing or similar casino games might be partial to The Cincinnati Kid (1965), especially if they are a die-hard Steve McQueen fan.

But for those with no interest in the ‘sport’ and who think that McQueen is a royal douche who received a modicum of film success, the film is a marginally decent effort.

For those who don’t know, Steve McQueen, the actor and not the British filmmaker, was nicknamed the “King of Cool” and played the anti-hero in most of his films.

His heyday was from the mid-1960s through the early 1970s, and he garnered success by repeatedly playing the same role. He was notorious for insisting his hair was perfect, being selfish, and being a royal prick.

He died of cancer in 1980.

An earlier film of his, The Cincinnati Kid (1965), is set in Depression-era New Orleans, though the film’s severe 1960s look makes it almost impossible to determine that it’s not the 1960s.

Eric Stoner (Steve McQueen) is a cocky poker player nicknamed the Cincinnati Kid who challenges longtime champ Lancey “The Man” Howard (Edward G. Robinson) to a showdown at the table, where a war of persistence and luck ensues.

To add energy, Rip Torn plays Slade, a villainous man who seeks revenge against Howard and tries to help Stoner beat him.

In addition to the inevitable final poker game, Stoner is immersed in a romance with good girl Christian Rudd (Tuesday Weld) as he tries unsuccessfully to fend off the seductive advances of his best friend Shooter’s (Karl Malden) girlfriend (Ann-Margret), who is also a close friend of Christian.

Romance and double-dealing are in the air in this film.

The main draw is McQueen because he is charismatic and carries the by-the-numbers film.

The story seems to be a battle between youth (Stoner) and seasoned wisdom (Howard), but aside from the fantastic finale involving (what else!) a tense game of cards, I didn’t find the main story all that interesting.

Other impressive aspects, however, include the trimmings.

The actors handle the playing cards realistically, use the game terminology, and smoke a fat cigar, adding real authenticity to the film.

The New Orleans flavor adds culture, and many Black actors appear in minor roles that at least offer some representation of the actual southern city.

Despite the talented cast, only McQueen shines.

Weld and Ann-Margret are incredibly one-note characters and opposites (good girl and bad girl) with little development. Malden is the film’s moral compass but otherwise has little to do.

Interestingly, Norman Jewison replaced original director Sam Peckinpah shortly after filming began. He described The Cincinnati Kid as his “ugly duckling” film, which let him transition from the lighter films he’d made and take on more serious subjects.

Cinema lovers know he directed the 1971 film Fiddler on the Roof, a completely different film.

I wonder whether Jewison’s heart was in this film, or whether he did the best he could with a subject that wasn’t close to his heart.

Knowing Peckinpah’s brilliant work, I wonder if he would have made The Cincinnati Kid darker and more violent.

One scene that turns my stomach is a gruesome and violent cock-fighting scene. Any animal cruelty makes my blood boil, so I turned my head and refused to watch the scene or the group of merrymakers sitting around cheering the bloodbath.

The Cincinnati Kid (1965) is an enjoyable watch for poker lovers or Steve McQueen fans. It is also not bad for casual fans.

Though I have not seen it, I understand that The Hustler (1961) is a similarly themed and better-made film.

Golden Globe Nominations: Best Performance by an Actress in a Supporting Role in any Motion Picture-Joan Blondell