American-Hustle-sliceDavid O. Russell’s previous two features, The Fighter and Silver Linings Playbook, were both incredibly well received, picking up three Oscars between them. However with his latest endeavour, American Hustle, Russell has appeared to combine the cast lists from the respective projects, with Christian Bale and Amy Adams (The Fighter) teaming up with Bradley Cooper and Jennifer Lawrence (Silver Linings Playbook). But that’s not all – he’s also taken the very best elements from both of the aforementioned titles, and brought them together to create his finest, most accomplished production yet.

Bale plays Irving Rosenfeld, a shrewd conman who, despite being married to the erratic housewife Rosalyn (Lawrence), teams up both intimately and professionally with the beguiling Sydney Prosser (Adams). However when their money making scheme leads to an FBI investigation, the pair have no option but to cooperate with agent Richie DiMaso (Cooper) and help to bring down the impassioned, good-hearted Mayor Carmine Polito (Jeremy Renner) to avoid a lengthy prison sentence themselves. However this supposedly straightforward mission hits one or two glitches along the way, as the group find themselves hurling into a dark, underground world of corrupt Jersey politicians and the feared mafia.

Russell has found a strong blend between comedy and drama, treading that line masterfully. At times the film grows increasingly intense, as the very fact the entire mission could go wrong at any given moment creates a volatile atmosphere. However a jovial, light-hearted tone remains prevalent throughout, to counteract any suspense. A fine achievement in scriptwriting ensures this be the case, with Eric Singer teaming up with the director to pen this fantastic screenplay. In many respects the film bears similarities to capers such as Fargo, taking an almost farcical approach as a narrative based around one simple task – and yet it’s one pathetically executed, inevitably failing miserably.

Taking evident pointers from the likes of Martin Scorsese and the Coen brothers, Russell has created a striking piece of cinema, and the way the music – which plays a huge part in this title – is woven into the narrative is effective, with a handful of distinctively memorable scenes, including some classic 70s numbers. The era has been depicted so earnestly, almost playing up to the stereotypes of the time and intricately overstating them for comic effect, doing so in such a lovingly way. The style too is a nod to movies from such an era, with dramatic, fast-paced close ups implemented throughout. Melodramatic and overstated this may be, but it revels in such an approach.

Where American Hustle comes into its element, however, is within the astounding acting performances across the board. Bale in particular stands out, as the heartbeat to this film, illuminating every scene he’s in. He may be a conniving chancer, but he’s an underdog of sorts, and at the very beginning we see him desperately attempting to fix his appalling combover, putting him on the back foot somewhat, as you see him beyond his facade, endeared to him instantaneously. Bale is such a subtle performer, and on this evidence, it’s hard to think of anybody else quite as talented in world cinema, as he manages to overact without ever overacting at all. Meanwhile the support is fantastic, with Lawrence setting herself up in good stead for yet another triumph at the forthcoming Academy Awards.

All of the characters are so flawed in this title, with no palpable villains as such, just a collection of shady, imperfect people. They’re all capable of being untoward, and yet each have their own endearing qualities to balance out the less appealing aspects within their demeanour. A sentiment certainly helped along with the effortless changing hands in regards to narration, forming an intimate bond between the audience and the character at hand.

Keeping you guessing throughout, you know very well a revelation of sorts is forthcoming, and yet the characters always remain two steps ahead of you, disallowing the chance to second guess their next move – a sign of a very well written piece. Add some top quality acting into the mix and a rather capable director, and hey presto, you’ve got yourself another Oscar contender.

[Rating:4/5]

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