There’s an interÂlude between the first and secÂond acts of The Hustler that begins when Fast Eddie losÂes all his monÂey to Minnesota Fats and, as a proÂfesÂsionÂal conÂman with no fixed address, he’s forced to store his belongÂings in a lockÂer at the bus staÂtion. He meets Sarah there, then moves in with her after a brief courtship1.
Charlie, his old sharkÂing partÂner, finalÂly manÂages to find him at her house and is eager to hit the road again, but Eddie remains focused soleÂly on earnÂing enough to face Minnesota Fats one more time. Eddie needs to prove he’s a winÂner, both to the world and to himÂself. That’s why there’s nothÂing that can be said to conÂvince him to change his mind, and when he finds out Charlie was holdÂing out on him durÂing the last run — even though it was for Eddie’s sake, even though he had absoluteÂly no right to the cut that rightÂfulÂly belonged to Charlie — Eddie quickÂly becomes enraged, thinkÂing he could have beat Fats with the remainÂing juice.
“Lay down and die by yourÂself”, Eddie says, “Don’t take me with you.”
“Just like that?”, Charlie repeats in disÂbeÂlief after a brief pause.
“Yeah, just like that!” Eddie spits the words withÂout any hesÂiÂtaÂtion.
Unable to help but overÂhear, a sinÂgle tear rolls down Sarah’s cheek. After havÂing recentÂly met both men, she couldÂn’t have enough conÂtext to underÂstand all the hisÂtoÂry they’ve been through. But that doesÂn’t matÂter. No one needs to explain to her how hurtÂful those words are. She has no stakes in the sitÂuÂaÂtion; only empaÂthy and sadÂness.
It was a moment that made me realÂize how rare it is to expeÂriÂence expresÂsions of emoÂtion like that nowaÂdays. Aside from a few instances of peoÂple cryÂing durÂing a movie2, it’s hard to recall the last time someÂone shed a tear due to a tragedy that didÂn’t affect themÂselves in some way, directÂly or not.
Vulnerability, tenÂderÂness, or comÂpasÂsion have increasÂingÂly been viewed as weakÂnessÂness, while rage and greed are gloÂriÂfied and worn like badges of pasÂsion. I can’t help but wonÂder how much the Marvel franÂchise — which has come to define cinÂeÂma for an entire genÂerÂaÂtion — has conÂtributed to this by underÂcutÂting scenes that feaÂture any poignanÂcy with some kind of humour to make them more palatÂable (and, hence, profÂitable), at the cost of true emoÂtionÂal impact. Perhaps SNRIs are to blame as well; most peoÂple I know are on an anti-depresÂsant of some kind, the purÂpose of which was described to me by my psyÂchiÂaÂtrist as “putting one’s feelÂings in a cast“3.
That’s why I’ve been makÂing a conÂscious effort to conÂnect with those with kind hearts and genÂtle souls. People who react with comÂpasÂsion instead of indifÂferÂence when I’m in disÂtress. People who aren’t afraid to say it back when I end a corÂreÂsponÂdence with “Love Jeff”. People whose iniÂtial instinct upon findÂing out that they’ve hurt me is to seek forÂgiveÂness and underÂstandÂing instead of turnÂing defenÂsive and angry.
It’s an approach to being social that’s left me increasÂingÂly isoÂlatÂed from the world, but also givÂen me an even deepÂer appreÂciÂaÂtion for who’ve remained in my life.
- And if Eddie was played by anyÂone othÂer than a young Paul Newman, I’d likeÂly conÂsidÂer this an immerÂsion breakÂing detail. [↩]
- Shawn durÂing this scene in Interstellar, me from this scene in The Artist. [↩]
- More than once, Heather has told me she’d be cryÂing if it wasÂn’t for her meds after I did someÂthing thoughtÂful for her. [↩]
