Why a 1965 poker drama became director Norman Jewison's self-described ugly duckling film
In short: Before he became a legendary filmmaker, Norman Jewison took over a troubled production about a Depression-era poker prodigy. The result was a stylish, tense drama that polarized critics upon release but eventually earned a reputation as one of the greatest poker movies ever made, despite its director's complicated personal feelings.
The Cincinnati Kid, released in 1965, follows Eric Stoner, a young poker player in 1930s New Orleans determined to prove he is the best by defeating an aging master, Lancey Howard. The production was fraught with instability from the start. Director Sam Peckinpah was fired shortly after filming began, with producer Martin Ransohoff citing his tendency to vulgarize the picture. Norman Jewison stepped in to replace him, inheriting a project that had already undergone significant changes, including a shift in setting from the novel's St. Louis to New Orleans.
Jewison later described the film as his ugly duckling, yet he also noted the sheer joy he experienced during production. He viewed the project as a pivotal transition, allowing him to move away from the lighter comedies of his early career toward more serious subject matter. The film’s aesthetic was a deliberate choice; while Peckinpah had intended to shoot in black-and-white to evoke a period feel, Jewison scrapped that footage. He opted for muted colors instead, believing that greyscale would fail to highlight the vibrant red and black of the playing cards.
The film’s reception was mixed at the time, with many critics drawing unfavorable comparisons to the 1961 film The Hustler. However, retrospective analysis has been kinder. Some modern reviewers argue that The Cincinnati Kid possesses a dramatic complexity and self-awareness that its predecessor lacked. The film is also remembered for its performances, particularly Edward G. Robinson as the ruthless Howard and Joan Blondell, who received a Golden Globe nomination for her role as Lady Fingers. Despite its rocky origins and initial critical hesitation, the film remains a touchstone for gambling cinema, praised for its naturalistic screen presence and taut, well-constructed production.
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Sources
- Summary by Intellect · source: The Cincinnati Kid
- Also: The Cincinnati Kid
- Also: Wikidata — The Cincinnati Kid · CC0
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