The Gambler

I'm not going to lose it.  I'm going to gamble it.

Screenwriter James Toback based the character of Axel Freed on himself.  A university professor with a very dangerous sideline - gambling on not very sure things.  Insane odds.   But other times just pure old bad luck puts him in the hole.  1974's THE GAMBLER opens as Axel (James Caan) realizes he's been dealt several bad poker hands.  Now he's in hock for 44 K, his worst predicament ever.  Even Hips (Paul Sorvino), his bookie is stunned.   How can Axel get out of this one without a broken extremity or worse?  Hips is a friend and protector, but realizes he can stall the collectors only for so long.  

We learn quickly that Axel likes it that way.   Even as he breaks down in the sort of frustration and fear anyone who just lost a bet on a basketball game by one lousy point would.  He'll use the money his mother gave him to pay off his toxic debt to make another bet.  He aims to lose.  Winning provides no satisfaction.   He even says as much.  To Hips.   Also to his frustrated girlfriend Billie (Lauren Hutton).  The very art of the gamble is the goal.  The thrill.  The certainty of failure, yet still convinced he can succeed.   A belief that 2 + 2 can equal 5.  He challenges his lit. students to interpret Dostoevsky in such a fashion.   His debates with them reveal much about his own demons.

Toback's script thoroughly examines the sort of individual who feels no purpose unless his life in constant peril, or at least amidst some sort of chaos.  Maybe similar to people who climb treacherous mountains, or work in E.R.s.   At times I felt the movie explained itself a bit too much, but it was always fascinating. 

Karel Reisz proves himself an actor's director with THE GAMBLER.   His style nicely captures the grit of '70s NYC, but this never overwhelms the story, though it can be argued that it is very much a part of it.   Just about everyone in the cast gets a great moment.  Caan's performance here may well be his best.  His embodiment of Toback's character is entirely natural and intuitive.  He never has to try to convince us of his restlessness and helplessness.  His terrible self-awareness.  The supporting players, which include folks like M. Emmett Walsh, James Woods, and Stuart Margolin, are aces.  Burt Young is ingratiating and frightening as a hatchet man.   Only Hutton's performance suffers a bit, especially during a lengthy monologue.   She does have quite a presence, though.

I wasn't completely satisfied with the film's final ten minutes, but it was certainly consistent with the behavior of a poor soul like Axel Freed.   He learns everything and nothing by that final shot.

R.I. P. - Mr. Caan.