The Hustle

I love Dirty, Rotten Scoundrels. That con man caper just hits all the right notes for me, and the combination of Steve Martin and Michael Caine is just perfect. And that is saying nothing of Glenne Headly. I consider it a perfect comedy. Naturally, I was excited to see the remake, which changed the title to The Hustle and stars Anne Hathaway and Rebel Wilson. That remake turned out to be somewhat disappointing. I wouldn’t call a complete loss, but it is a missed opportunity.

Dirty Rotten Scoundrels is a movie that it is hard to get upset about seeing remake, if only for the fact that it was a remake itself. The common story to these three movies is one that lends itself well to changes to the details while keeping the core conceit in place. That conceit is that one character is an uncouth, small time con man, who meets up a refined, polished trickster. The two briefly form a partnership, but it soon becomes apparent that the town, Beaumont-sur-Mer, is not big enough for the both of them. So they concoct a competition to see who will have to stay and who will have to go. The details of the cons, and who is tricking who at any given time, could be changed without changing much of the appeal.

The Hustle, doesn’t change enough from its predecessor. Or maybe it changes too much? It gets into a weird place where things are different, but seemingly only because makers knew some things had to be different. Sometimes the changes make no sense. At one point in Dirty Rotten Scoundrels, Martin pretends to not be able to walk. Caine poses as a psychologist who can cure Martin’s psychosomatic condition. He takes Martin, and their mark, to a dance club, his fake theory being that seeing them moving around and having fun will snap him out of it. The same scenario plays out in The Hustle, except Rebel Wilson, playing the Steve Martin role, is pretending to be blind. How not seeing people dance will make her see again is unclear. It isn’t something she is forced to miss out on; blind people can dance and she can’t see people dancing without her. Many of the changes are like that, a seemingly small alteration that makes how the con plays out nonsensical.

The movie is at its best when it pushes things further away, like when Wilson is setting up fake tinder dates and scamming men out of money for fake boob jobs. Those bits work. As do a lot of the scenes that change nothing from Dirty Rotten Scoundrels. It is when the movie gets in that halfway state that it falls apart, when it keeps the set up but changes the punch line, or vice versa.

The other part where it didn’t change enough is in taking into consideration its new stars. Anne Hathaway does a decent Michael Caine impersonation, all haughty and controlled. She brings a very similar energy here, and it works. Rebel Wilson is no Steve Martin. That is not intended to be a dig at Wilson; she just brings a different comic energy that Martin does. They give the role completely different flavors of sleaze. It means that jokes that worked for Martin do not work as well for Wilson.

The bones of a good movie are apparent in The Hustle. The musculature built around those bones is lumpy and misshapen. While I will watch anything with Anne Hathaway in it, I’d rather just watch Dirty Rotten Scoundrels again.

**1/2

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Dumbo

Disney’s animated classic Dumbo is a slim movie, with a runtime just over an hour and few wrinkles to its story.  It feels among the least likely of their animated catalog to merit the full live action remake treatment.  But other than Marvel and Star Wars movies, live action remakes of animated movies is what Disney does these days.  The live action Dumbo clocks in at nearly two hours long and gives almost no one what they wanted to see.  However, the movie is just charming enough to make it hard to hate.

The story of Dumbo is of a big eared baby elephant who learns to fly.  This adaptation adds plot elements from what seems like three other movies to pad it out to full feature length.  There is a story about Colin Farrell’s Holt Farrier, a circus equestrian and WW1 veteran freshly returned from the war.  He lost an arm in the war and his wife died while he was away.  He has to pick himself back up and keep things together for his two kids.  His son exists and that’s about it, but his daughter doesn’t want to follow in her parents footsteps as part of the circus but instead wants to be a scientist.  Holt’s struggles are exacerbated by the fact that while he was gone, the ringleader, Max Medici, sold his horses to keep the circus afloat.  Holt is the center around which the movie revolves, but there isn’t enough done with his struggles to make it the center plank of the movie.  Medici, played by the always delightful Danny Devito, takes up another chunk of the movie dealing with him struggling to keep the circus viable and eventually going into business with the transparently shady V.A. Vandervere.  Vandervere, of course, is only interested in the flying elephant.  The movie introduces a dozen or so characters and a half dozen plots, all because it is unwilling, for good reason, to focus on the spectacle of a flying elephant.

The problem is that Dumbo flying doesn’t look that amazing in live action.  It looked really interesting in traditional animation, but this CGI realistic facsimile inspires little awe.  Really, the movie is missing so much of what makes the original version so entertaining.  The most memorable part of the movie was the Pink Elephants on parade sequence, when Dumbo sneaks some of the circus laborers liquor and has drunken hallucinations of pink elephants on parade.  That scene does not happen in live action movie, but it is replaced with a “realistic” copy that has none of the weird charm, it is merely there to remind you the think you liked in the old movie without actually giving you that thing you liked.

Somehow, though , the movie manages to be charming despite feeling like a mismatched grab-bag of other movies.  A lot of that is thanks to uniformly strong performers being generally very charming.  Devito, Farrell, Eva Green and Michael Keaton are all doing something.  It is fairly enjoyable to watch them.  Each of the four movies that its feels have been Frankensteined together could have been good if fully fleshed out, Dumbo merely gives you glimpses of them. It is not a good movie, but it is somehow charming despite being bad.

**1/2