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2020年05月29日
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release date: 2019
actor: Julia Stiles, Constance Wu
runtime: 1 h, 50 Minutes
Comedy, Thriller
director: Lorene Scafaria


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Hustlers may feel like a predictable revenge narrative arc early on, where the women have success and get greedy and go too far, have lots of success and have it come crashing down. At the surface level, that is what's essentially going on, but beneath that questions of morality, victimization, and socioeconomic status lie without easy answers. I had heard the raves about JLo's performance, and she's undeniably very good, but Wu is just as strong in showcasing her character's inner turmoil and evolution. The direction does a good job of putting the viewer in the strip club environment, and tracking shots are employed early to encourage the connection we feel we have with Destiny. It was utterly unsurprising to me to see McKay listed as a producer, as the cross cuts between present day interviewing and the narrative being told felt straight out of his book.

The most interesting question asked in Hustlers surrounds victimization - who was really the victim in the whole hustle, and is anyone involved morally redeemable? There are fascinating linkages consistently shown throughout the movie, particularly surrounding the flow of money. Ruthless businessmen profit in the finance world and then indulge in their vices, which in this film manifests as going to strip clubs. There they throw money away at the women for the superficial and physical entertainment of seeing them dance for them and being in control of the situation. The women, who are clearly viewed in a narrow and superficial aesthetic lens, show their own ruthlessness. Where the parallel is clearly distinct is in the two groups socioeconomic classes - the women haven't grown up with the same background or opportunities as most of the men, and have structural inequities that prevent them from greater financial success. Given these structural barriers, coupled with the financial crash which (from their perspective) was the fault of their former clients and who caused them to be jobless and poor, they get back at them with illegal measures. The superficial and surreptitious nature of the men's attendance at the clubs is used to the women's advantage, as in the short run the men wouldn't tell anyways because of their socioeconomic security. Clearly the extent to which they take it is completely wrong, and unsurprisingly it all catches up to them (though not nearly as much as you'd think - none of them end up having to do hard time. br>
The familial emotional stakes did feel a bit forced and not as emotionally developed as intended, and the women's relationship did feel fickle and solely based in financial success, though that may be part of the point. The seeming frivolity of their earnings through the hustle seemed an inconsistent juxtaposition with their demeanor in feeling like they had to keep going and had no other choice - they ended up spending it largely on luxury items like designer handbags, chic dresses, and posh cars and houses. There's nothing wrong with using money that way, but it's not exactly Robin Hood-esque in stealing from the rich for necessary and noble causes alone. There is quite a lot of moral ambiguity to unpack and many societal questions raised (made explicit by JLo's ending line using their dancing and hustling the men as a metaphor for how everyone in the world is just trying to get ahead by any means necessary. Even if it doesn't pull all of them off cleanly, it's quite a strong film with great ideas and performances.


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最終更新日  2020年05月29日 09時27分10秒
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