The Cincinnati Kid

In 1930’s Louisiana, an up and coming poker player (Steve McQueen) seeks a game with the reining king of stud poker (Edward G. Robinson).

The Cincinnati Kid is a very good gambling movie. It doesn’t concern itself with side plots involving the mob or romance, but instead, like The Hustler, it focuses on one man’s obsession and the collateral damage it creates.

While director Norman Jewison does a solid job, I can’t help but think original director Sam Peckinpah would have elevated this film to true greatness. That he was fired for shooting a nude scene with a then-unknown Sharon Tate is a testament to the dark, adult, tone he would have brought to the picture.

Further, the story’s themes of obsession, loyalty, betrayal, tradition, and chance are right up Peckinpah’s alley, having served as the foundation for many of his best films.

For his part, Steve McQueen seems born to play the title role. His usual timeless and understated performance is precisely what is required to bring his character to life. Backing him is an equally well chosen supporting cast highlighted by Edward G. Robinson who conveys volumes about his character in a relatively small amount of screen time.

The script by Ring Lardner Jr. and Terry Southern is full of great dialog, and does a good job of remaining accessible to non poker players. However, the blatant string-raise McQueen’s character makes toward the film’s end should have been caught and excised. While it may sound good, it hurts the film’s credibility.