He doesn't smoke, he doesn't drink, he isn't on drugs but, unfortunately, he's a compulsive gambler. If it weren't for this addiction, James Caan would be the perfect son-in-law: he's also a college teacher, he's got nice shirts, curly hair and a blue Mustang. Everybody likes him so only the taste of blood could possibly wake him up. Strongly recommended.
James Caan as an academic, in 70s New York, with a Mahler soundtrack - who can resist?! Also an excellent study of the insidious nature of addiction. Caan is perfect, perhaps never better, his natural charm disarming us to the point where we almost want to stay alongside him even as he sows destruction to both himself and those around him. Reisz's direction is on the dot: unshowy, intelligent, humane. 70s gold.
Another gem from America's cinematic goldmine of the 1970s. Reisz bluntly, almost anti-dramatically, shows us the condition of addiction. Caan is wholly convincing as the nihilistic, risk seeking Axel whose moral corruption knows no bounds. He fritters away his mum's savings, drags students to his troubles & arrogantly shuns all around him. File with Taxi Driver, Chinatown, Midnight Cowboy as a tale of ubran decay.
I saw the Rupert Wyatt version (2014) with Mark Wahlberg first - and was quite impressed. However, even though, I was expecting "the original" to be better. But it wasn't. In all terms they are absolutely on the same (high) level. Great acting of James Caan ("fuck my protection"). The way he conveys the addiction & decline of a person into ruin is amazing. Unforgettable scenes: "20$ for a dime"; cinema radio, bath.
I know it's been said by many many times but they made movies in the US they won't make now...gritty little character pieces with no sugar that I eat up. Better on 2nd viewing, this has Toback all over it though he only wrote it. Probably Cann's best performance...he really nails the charm the character needs and not just the impulse and desperation because this guy couldn't last as long as he does without it.
Reisz's bravura opening sequence establishes the narrow confines to which his gambler's concerns have been reduced. From there we're shown a world Axel only barely inhabits, the world of external obligations and others' intentions. Grimly obsessed with imposing his will upon reality -- including his own willful destruction -- Axel both depends upon and reacts against the safe-harbor/prison of the maternal relation.