The Color of Money


1h 57m 1986

Brief Synopsis

An experienced pool shark coaches a young hothead on his way to the top.

Film Details

Also Known As
Color of Money, couleur de l'argent
MPAA Rating
R
Genre
Drama
Adaptation
Romance
Sequel
Sports
Release Date
1986
Distribution Company
Walt Disney Studios Distribution
Location
Atlantic City, New Jersey, USA; Chicago, Illinois, USA; New York City, New York, USA

Technical Specs

Duration
1h 57m

Synopsis

"Fast" Eddie Felson takes a cocky young protege under his wing and relives his hotshot days of 25 years back.

Crew

Harry Akst

Song

Jane Alderman

Casting

Kathy Anderson

Assistant

Shelley Andreas

Casting

Irving Axelrad

Producer

Mark A Baker

Location Manager

Michael Ballhaus

Director Of Photography

Michael Barry

Foley

Gilbert Becaud

Song

Elmer Bernstein

Song

Bo Diddley

Song

Bo Diddley

Song Performer

Ron Bochar

Sound Editor

Harry Peck Bolles

Sound Editor

Herman Brightman

Song

Karen Bruck

Production Assistant

Richard Bruno

Costume Designer

Donald C Carlson

Assistant Camera Operator

Robert Carlson

Assistant Camera Operator

Gary Chang

Music

Eric Clapton

Song Performer

Eric Clapton

Song

Phil Collins

Song Performer

Phil Collins

Song

Marko Costanzo

Foley Artist

Mann Curtis

Song

Mann Curtis

Theme Lyrics

Tracy Barbara Cutts

Production Assistant

Salve D'esposito

Song

Joseph Damato

Production Assistant

Mack David

Song

Barbara De Fina

Producer

Gene De Paul

Song

Pierre Delanoe

Theme Lyrics

Pierre Delanoe

Song

Vinicius Demoraes

Song

Vinicius Demoraes

Theme Lyrics

Michael Dicosimo

Consultant

George Dileonardi

Transportation Captain

Willie Dixon

Music

Willie Dixon

Song Performer

Willie Dixon

Song

Swamp Dogg

Song

Peter J Donoghue

Key Grip

Bill Einsel

Production Assistant

Gil Evans

Original Music

Richard Feld

Assistant Director

Eddie Fernandez

Stunts

Tom Fleischman

Sound

Dodie Foster

Unit Production Manager

Dodie Foster

Associate Producer

Marcia Franklin

Assistant

Judith S Friedman

Assistant Director

Norman Gimbel

Theme Lyrics

Norman Gimbel

Song

Dick Goldberg

Sound Editor

Michael Goodman

Assistant Editor

Michael Greenwood

Production Assistant

Thomas Gulino

Sound Editor

Don Henley

Song Performer

Don Henley

Song

Guy Hoffman

Song

Gregory A Jackson

Production Assistant

Antonio Carlos Jobim

Song

Pat Johnston

Song

Bert Kaempfert

Song

Todd Kasow

Music Editor

Laura Kemp

Production Assistant

Scott Kempner

Song

B. B. King

Song Performer

Mark Knopfler

Song

Mark Knopfler

Song Performer

Danny Kortchmar

Song

Brian J Kossman

Hair

James Kwei

Assistant Editor

Rick Lefevour

Stunt Coordinator

Boris Leven

Production Designer

Skip Lievsay

Sound Editor

Marissa Littlefield

Music Editor

Sammy Llana

Song

Stacy Logan

Stunts

William Loger

Costume Supervisor

Ruth Lowe

Song

Lawrence Lucie

Song

Deborah Lupard

Production Assistant

Mel P Mack

Best Boy

Michael J Malone

Location Manager

Tito Manlio

Song

Tito Manlio

Theme Lyrics

Phil Marco

Unit Director

Leroy Marivell

Song

Frank Miller

Camera Operator

Jim Miller

Gaffer

John Robert Miller

Dolly Grip

Bob Nichols

Music Editor

Kathy Nolan

Production Assistant

Karen O'hara

Set Decorator

Edward M O'malley

Assistant Editor

Carl Oldham

Song

Robert Palmer

Song

Robert Palmer

Song Performer

Charlie Parker

Song Performer

Dan Penn

Song

Dan Perri

Titles

Gidion Phillips

Assistant

Ron Phillips

Photography

Richard Price

Screenplay

Don Raye

Song

Joseph Reidy

Assistant Director

Jeffrey R Renfrow

Property Master

Gretchen Rennell

Casting

Sioux Richards

Script Supervisor

Jaime Robbie Robertson

Song

Jaime Robbie Robertson

Music

Don Robey

Song

Elise Rohden

Production Coordinator

Deborah Schindler

Assistant

Thelma Schoonmaker

Editor

Michael Sigel

Technical Advisor

Carl Sigman

Song

Carl Sigman

Theme Lyrics

Charles Singleton

Song

Percy Sledge

Song Performer

Curt Smith

Special Effects

Jimmy Smith

Song Performer

Eddie Snyder

Song

Chris Soraci

Sound Editor

Jess Soraci

Sound Editor

J D Souther

Song

Kathe Swanson

Hair

Christopher Tellefsen

Assistant Editor

Walter S Tevis

Source Material (From Novel)

Lillian Toth

Makeup

Susan Vanderbeek

Other

Giuseppe Verdi

Music

Steve Visscher

Sound Editor

Robert Wachtel

Song

Ferdinand Washington

Song

Muddy Waters

Song

Muddy Waters

Song Performer

Cheryl A Weber

Costumes

Christopher Weir

Sound Editor

Robert Werner

Production Assistant

Monty Westmore

Makeup

Rich Wilkie

Stunts

Glenn Williams

Sound

Jeffrey A. Williams

Boom Operator

Robert Yano

Sound Editor

Elizabeth Yanoska

Production Accountant

Andrew Zawacki

Construction Coordinator

Warren W. Zevon

Song Performer

Warren W. Zevon

Song

Film Details

Also Known As
Color of Money, couleur de l'argent
MPAA Rating
R
Genre
Drama
Adaptation
Romance
Sequel
Sports
Release Date
1986
Distribution Company
Walt Disney Studios Distribution
Location
Atlantic City, New Jersey, USA; Chicago, Illinois, USA; New York City, New York, USA

Technical Specs

Duration
1h 57m

Award Wins

Best Actor

1986
Paul Newman

Award Nominations

Best Adapted Screenplay

1986

Best Art Direction

1986
Boris Leven

Best Supporting Actress

1986
Mary Elizabeth Mastrantonio

Articles

The Color of Money


In six tries over the space of 23 years, the Best Actor Oscar consistently evaded Paul Newman's deserving grasp. When he finally obtained the accolade on his seventh try, it seemed fitting that it should come for The Color of Money (1986), his sunset-years reprise of the role that landed him his second nomination twenty-five years earlier, that of pool shark "Fast Eddie" Felson in The Hustler (1961).

Newman had been long intrigued with the notion of picking up with Felson's seedy odyssey, but the screen adaptation of novelist Walter Tevis' follow-up to The Hustler ultimately retained little more than the book's title. Unsatisfied with the script he had in development, the actor made overtures to director Martin Scorsese, whose effort with Raging Bull (1980) convinced Newman that he could capture the requisite urban feel.

For Scorsese, the project was a first in many ways, being a big-budget vehicle for an old-guard star in which he had no hand in the initial development. The Hustler had been a lifelong favorite of the director's, however, and he happily accepted the unusually commercial assignment. "A movie star is a person I saw when I was ten or eleven on a big screen," Scorsese recounted to Mary Pat Kelly in Martin Scorsese: A Journey (Thunder's Mouth Press). "With De Niro and the other guys it was a different thing. We were friends. We kind of grew together creatively...But with Paul, I would go in and I'd see a thousand different movies in his face, images I had seen on that big screen when I was twelve years old. It makes an impression."

To help develop a script with the proper street nuance, Scorsese recruited Richard Price, the novelist responsible for The Wanderers and Bloodbrothers. "Our concept was that 'Fast Eddie' Felson was not the kind of fellow who, after losing out at the end of the first film, just folded up and did nothing for the next twenty-five years," the director recounted in Scorsese On Scorsese (Faber and Faber). "He's a big hustler, and if Bert Gordon (George C. Scott's sleazy backer from the original film) was tough and mean, the only way I know that 'Fast Eddie' could survive was if he was tougher, meaner and more corrupt than Bert."

The Color of Money picks up several years later after the events of The Hustler, with Eddie retired from the game but still aware of how to work the angles. Having found relative prosperity as a salesman of off-label liquor, he also enjoys a side income from staking young nine-ballers in their hustles. While marking time with Chicago barkeep Helen Shaver, a regular account and sporadic lover, he can't help but notice the raw shooting ability displayed by Vincent Lauria (Tom Cruise), a cocky kid who playfully demolishes Felson's current protege (John Turturro).

Felson subsequently propositions Vince and his much cannier girlfriend Carmen (Mary Elizabeth Mastrantonio) to a six-week road trip of pool halls, during which he'll teach the young natural how to turn his skill into big money via the hustle. Felson's ambition is to have the kid trained in time for a major tournament in Atlantic City, and he's willing to take the chance that Vince's flakiness will cause marks and bookmakers to underestimate him.

The lessons that Felson wants to impart, however, don't come easy. Vince, who flamboyantly revels in his dominant gamesmanship like he's trying to get on SportCenter, can't seem to wrap his head around the concept of throwing an early game to jack the stakes up for a later one, or doing anything to decoy an opponent. In one of the film's best set pieces, Cruise takes apart a local ace for the sheer joy of it, brandishing his cue like a martial artist to Warren Zevon's Werewolves of London. The entire ritual is witnessed by a disgusted Eddie, who realizes that every potential sucker in five counties will now be alerted.

Vexed by his charge's stubbornness, and perhaps slightly jealous of his skill, Eddie begins to play again for distraction. This leads to a bottoming-out when he scrapes up a game with a hulking, portly kid who rambles on about his shock therapy. As the night winds on, the supposed mark (Forest Whitaker, who nearly walks off with the picture in this early role) winds up taking Felson for a small fortune, as a bemused Vince and Carmen look on. The humiliated Felson pulls the plug on the entire venture, leaving the kids to make their way to AC on their own, as he attempts to find some measure of redemption for himself.

In The Color of Money, Scorsese's marvelous visual sense gives the game of pool a vibrancy unmatched by any film on the subject before or since. "The pool room atmosphere and the dynamics of the game of pool didn't lend itself to experimentation," assistant director Joe Reidy recalled for Kelly. "However, Marty invented some really interesting angles that showed off the game well... It was not just a dramatic thing but a physical thing; it gave the camera a different kind of energy, following a ball, following a cue stick. The pool table became a stage."

Buoyed in no small part by the surge in Cruise's star power in the wake of Top Gun (1986), The Color of Money wound up making a tidy $52 million at the box office, the best return that any of Scorsese's features had to that point. In addition to Newman's Best Actor Oscar, the Academy of Motion Picture Arts and Sciences also gave well-earned nominations to Mastrantonio (Best Supporting Actress), Price (Best Screenplay - Based on Material from Another Medium), and art director Boris Leven, who died not long after the film's release.

Producer: Irving Axelrod, Barbara De Fina
Director: Martin Scorsese
Screenplay: Richard Priced, based on the novel by Walter Tevis
Art Direction: Boris Leven Cinematography: Michael Ballhaus
Editing: Thelma Schoonmaker
Music: Robbie Robertson
Cast: Paul Newman (Eddie Felson), Tom Cruise (Vincent Lauria), Mary Elizabeth Mastrantonio (Carmen), Helen Shaver (Janelle), John Turturro (Julian).
C-120m. Closed captioning. Letterboxed.

by Jay Steinberg
The Color Of Money

The Color of Money

In six tries over the space of 23 years, the Best Actor Oscar consistently evaded Paul Newman's deserving grasp. When he finally obtained the accolade on his seventh try, it seemed fitting that it should come for The Color of Money (1986), his sunset-years reprise of the role that landed him his second nomination twenty-five years earlier, that of pool shark "Fast Eddie" Felson in The Hustler (1961). Newman had been long intrigued with the notion of picking up with Felson's seedy odyssey, but the screen adaptation of novelist Walter Tevis' follow-up to The Hustler ultimately retained little more than the book's title. Unsatisfied with the script he had in development, the actor made overtures to director Martin Scorsese, whose effort with Raging Bull (1980) convinced Newman that he could capture the requisite urban feel. For Scorsese, the project was a first in many ways, being a big-budget vehicle for an old-guard star in which he had no hand in the initial development. The Hustler had been a lifelong favorite of the director's, however, and he happily accepted the unusually commercial assignment. "A movie star is a person I saw when I was ten or eleven on a big screen," Scorsese recounted to Mary Pat Kelly in Martin Scorsese: A Journey (Thunder's Mouth Press). "With De Niro and the other guys it was a different thing. We were friends. We kind of grew together creatively...But with Paul, I would go in and I'd see a thousand different movies in his face, images I had seen on that big screen when I was twelve years old. It makes an impression." To help develop a script with the proper street nuance, Scorsese recruited Richard Price, the novelist responsible for The Wanderers and Bloodbrothers. "Our concept was that 'Fast Eddie' Felson was not the kind of fellow who, after losing out at the end of the first film, just folded up and did nothing for the next twenty-five years," the director recounted in Scorsese On Scorsese (Faber and Faber). "He's a big hustler, and if Bert Gordon (George C. Scott's sleazy backer from the original film) was tough and mean, the only way I know that 'Fast Eddie' could survive was if he was tougher, meaner and more corrupt than Bert." The Color of Money picks up several years later after the events of The Hustler, with Eddie retired from the game but still aware of how to work the angles. Having found relative prosperity as a salesman of off-label liquor, he also enjoys a side income from staking young nine-ballers in their hustles. While marking time with Chicago barkeep Helen Shaver, a regular account and sporadic lover, he can't help but notice the raw shooting ability displayed by Vincent Lauria (Tom Cruise), a cocky kid who playfully demolishes Felson's current protege (John Turturro). Felson subsequently propositions Vince and his much cannier girlfriend Carmen (Mary Elizabeth Mastrantonio) to a six-week road trip of pool halls, during which he'll teach the young natural how to turn his skill into big money via the hustle. Felson's ambition is to have the kid trained in time for a major tournament in Atlantic City, and he's willing to take the chance that Vince's flakiness will cause marks and bookmakers to underestimate him. The lessons that Felson wants to impart, however, don't come easy. Vince, who flamboyantly revels in his dominant gamesmanship like he's trying to get on SportCenter, can't seem to wrap his head around the concept of throwing an early game to jack the stakes up for a later one, or doing anything to decoy an opponent. In one of the film's best set pieces, Cruise takes apart a local ace for the sheer joy of it, brandishing his cue like a martial artist to Warren Zevon's Werewolves of London. The entire ritual is witnessed by a disgusted Eddie, who realizes that every potential sucker in five counties will now be alerted. Vexed by his charge's stubbornness, and perhaps slightly jealous of his skill, Eddie begins to play again for distraction. This leads to a bottoming-out when he scrapes up a game with a hulking, portly kid who rambles on about his shock therapy. As the night winds on, the supposed mark (Forest Whitaker, who nearly walks off with the picture in this early role) winds up taking Felson for a small fortune, as a bemused Vince and Carmen look on. The humiliated Felson pulls the plug on the entire venture, leaving the kids to make their way to AC on their own, as he attempts to find some measure of redemption for himself. In The Color of Money, Scorsese's marvelous visual sense gives the game of pool a vibrancy unmatched by any film on the subject before or since. "The pool room atmosphere and the dynamics of the game of pool didn't lend itself to experimentation," assistant director Joe Reidy recalled for Kelly. "However, Marty invented some really interesting angles that showed off the game well... It was not just a dramatic thing but a physical thing; it gave the camera a different kind of energy, following a ball, following a cue stick. The pool table became a stage." Buoyed in no small part by the surge in Cruise's star power in the wake of Top Gun (1986), The Color of Money wound up making a tidy $52 million at the box office, the best return that any of Scorsese's features had to that point. In addition to Newman's Best Actor Oscar, the Academy of Motion Picture Arts and Sciences also gave well-earned nominations to Mastrantonio (Best Supporting Actress), Price (Best Screenplay - Based on Material from Another Medium), and art director Boris Leven, who died not long after the film's release. Producer: Irving Axelrod, Barbara De Fina Director: Martin Scorsese Screenplay: Richard Priced, based on the novel by Walter Tevis Art Direction: Boris Leven Cinematography: Michael Ballhaus Editing: Thelma Schoonmaker Music: Robbie Robertson Cast: Paul Newman (Eddie Felson), Tom Cruise (Vincent Lauria), Mary Elizabeth Mastrantonio (Carmen), Helen Shaver (Janelle), John Turturro (Julian). C-120m. Closed captioning. Letterboxed. by Jay Steinberg

Quotes

Trivia

Miscellaneous Notes

Released in United States Fall October 17, 1986

Released in United States on Video July 1987

Film is a sequel to "The Hustler" made in 1961, directed by Robert Rossen.

Completed shooting April 1986.

Began shooting January 20, 1986.

Released in United States on Video July 1987

Released in United States Fall October 17, 1986

Voted Best Actor (Newman) and One of the Year's Ten Best Film's by the 1986 National Board of Review.