Remerging in 2010 with The Fighter, David O. Russell took what could have been a dark tale of triumph — overcoming a drug addiction, underdog boxing story, etc. — and instead crafted a scrappy, crowd-pleasing family drama. For his follow-up, Silver Linings Playbook, he devised an against-the-odds romantic dramedy, led by a character suffering from a dehabiliting bipolar disease. With his latest work, American Hustle, the director employs the same, off-the-cuff style in another story of characters facing improbable odds of success. However, unlike the first two entries in this ostensible thematic trilogy, the story of a FBI sting operation set in a glitzy 1970’s is the best marriage of tone and story, even if the latter element doesn’t deliver the spark one might expect.
“Some of this actually happened,” reads a title card that follows throwback Columbia Pictures and Annapurna Pictures logos, evidencing Russell’s retooling of Eric Singer’s fact-based, Black List script. Opening on the flabby belly of Irving Rosenfeld (Christian Bale), we’re introduced to his con man schemes, engineered since his childhood days, that include fake art deals, as well as convincing those around him that he still has a full head of hair. Enter Sydney Prosser (Amy Adams), a seductive woman who quickly catches the attention of Irving, and upon learning his con man ways, partners up under the conceal of a Englishwoman with ties to London banking.
$5,000 at a time, the duo promise desperate men that they can fix their financial woes by offering the possibility to multiply their investment. When one of the prospective clients turns out to be an undercover Richie DiMaso (Bradley Cooper) — a seemingly low-level FBI agent attempting to work his way up the ladder — they get busted. Instead of facing the legal system, they take up DiMaso’s offer to execute a series of cons, pulling in corrupt government officials, one of whom is the well-meaning Carmine Polito (Jeremy Renner), Camden, New Jersey’s beloved mayor. Rounding out the ensemble is Irving’s erratic Long Island housewife, Rosalyn (Jennifer Lawrence), who he can’t let go, although she only seems to provide stress in his life.
Like Russell’s previous films, characters are king, with each providing their own quirks and eccentricities, conning the audience into their desire to want to inhabit this potentially dangerous world. While the flashy, strong-headed performance of Lawrence attracts attention and Adams, with a character whose intentions are not unlike that found in The Master, is an alluring temptress — characteristics employed to keep both Rosenfeld and DiMaso at her beck and call — it’s Bale’s character that truly delivers the most believable con.
Coming off his stoic, blue-collar Out of the Furnace character, Bale proves his shapeshifting abilities yet again as a fully sympathetic con artist; while the first scene makes the case the transformation will rely heavily on the physical side, what follows is one of the actor’s most affecting performances, complete with mannerisms and reactions that feel genuine, unlike others in the ensemble. He makes perhaps his first true friend in Renner’s character, all while conning him into a real estate deal that would make Atlantic City a booming destination. There’s authentic heartbreak when the truth is inevitably revealed, leaving their relationship destroyed.
If only this set of memorable characters were serving a story that didn’t feel half-rate. Perhaps in need of a few more weeks in the editing bay, American Hustle is missing the spark a caper like this one merits. Coating the film with songs from Elton John, Tom Jones, Duke Ellington and more can only take Russell so far, as the actual sound design feels muted, lacking the energy its characters contain. Linus Sandgren‘s cinematography is also a far cry from the Goodfellas-esque style it’s attempting to replicate, with camera zooms feeling out of place and tracking shots that have little narrative bearing.
While these technical elements provide a glossy sheen over the proceedings, it’s hard not to feel empty when all is said and done. As our main con kicks into high gear, along with two love triangles at work, one would expect a cunning, twisty finale that gives our characters a satisfying send-off. Instead, we’re left with little more than a shrug. American Hustle may be wildly watchable, with the harmonious Russell-infused banter we’ve come to expect as of late, but one can’t help but shake the feeling this is a half-baked imitation of a crime caper we’ve seen many times over.
American Hustle hits limited release on December 13th and expands wide on December 20th.