If you where ever in Atlantic City in the late 1980's this about the way it was. Great Cast, Burt is my cousin,. Realistic. A Street City movie.

Bittersweet tale of two souls connecting, One trying to escape her situation, and one trying to get back his mojo from his glory days, With a backdrop of a city in transition, Out with the old, in with the new. Sympathetic performances from Lancaster and Sarandon, provides rooting interest in both their plights.

A really good gritty underworld tale from the down at heel Atlantic City. Fast paced and a lot to enjoy in the screenplay. Really enjoyed this one. Watched this one n DVD.

With the seedy gambling city as the backdrop, Louis Malle's Atlantic City is a film about equally seedy characters in search of their own unattainable goals. Sally (Susan Sarandon), an aspiring blackjack dealer who dreams of working in a Monte Carlo casino, is having trouble making ends meet. Her neighbor, Lou (Burt Lancaster), a former small-time hustler in Vegas, makes ends meet by tending to the needs of the widow of a former boss. When they meet as the result of a drug deal gone bad, they begin the realize that the only attainable salvation they may find is through their relationship. Atlantic City is far from perfect – the secondary characters all feel like cardboard cutouts and much of the dialogue is either unnecessary or ridiculous (‘Cookie had more manhood in his toupee than you've got in your fat frame!!'). However, Malle presents some great images (the extended close-up of Lancaster after he is confronted by the drug dealers, for example) and the chemistry between Sarandon and Lancaster is electric at times, making it a worthwhile watch despite its shortcomings.

Louis Malle's Atlantic City is a dreamy, lyrical and beautiful film made in a gritty, ugly city that is caught between its faded former glory and the promise of renewal and rebirth, thanks to casinos, themselves ugly and corrupting. It's about two people at opposite ends of their lives who cross paths for a few magical days. Burt Lancaster is marvelous as a former underworld errand-boy who still dreams of doing great things. Susan Sarandon is outstanding as a young woman running from a desolate youth in the Canadian prairie and a bad marriage. She's also been cheated by those closest to her. The story and Malle's direction reflect a deep humanity and a tremendous eye for portraying characters through small gestures and production details. Never has such a squalid society been portrayed with such love.

"Just let the boys see how well I turned out." The 'older character trapped in a prison of nostalgia' is not a particularly innovative archetype; it's been a cinematic mainstay ever since Norma Desmond announced that she was "ready for her close-up". As a setting, Atlantic City seems a particularly apt selection for a story based around such a character - a once-decadent city now in steep decline with its glory days well behind it. And while that base design may have served as the inspiration for Lancaster's character Lou, Atlantic City adds in a surprising amount of variety and flavor to go beyond broad-stroke plot development. An elderly Lou fancies himself a product of the glory days of American gambling, rubbing shoulders with big name gangsters when in reality he is simply a former small fry now self-aggrandizing in his old age. When by sheer coincidence he lucks into a windfall, he treats it as the opportunity to live out his fantasy, ordering new clothes, the best food, and pursuing a woman that he fantasizes about through his window, Sarandon's Sally. The film gets great when the house of cards comes crumbling down, as Susan is fired from her job (trying to pursue her own fantasy - a dealer in Monte Carlo where only men are allowed the position) and realizes that it was her husband's stolen drugs that were responsible for Lou's gifts. Her entire countenance immediately changes, from the porcelain doll that Lou wanted to play with to a practical ruthlessness, capped by a ruse in which she convinces a bus driver that Lou is her dementia-riddled father, concocting a convincing backstory on the spot. It's not just the toxic nostalgia, it's the mix of a few key elements that makes Atlantic City a convincing story - the obsession with the past, the self-deception, and the realization of impotence and unfulfilled ambiton. The supporting cast is good (including a Robert Goulet cameo and a woman who doesn't use seatbelts because she doesn't believe in gravity), but the two leads are both great; Lancaster demonstrates that he's still got particualr range as he becomes awash in giddiness at gunning down a couple of mobsters and seeing his police sketch on 온라인카지노추천, excited to tell the whole world that he finally did something real. (3.5/5)

A film that starts slow but becomes engrossing when the down-trodden characters are in danger and lose what little they have. Lancaster and Sarandon's character's have similar parallels as both are trying to get by with what little they have while reluctantly helping their friend and family respectively. Both actors play there roles well and the script is also well-written to gradually reveal each character's history and keep the audience engaged. It may not be well-told as Malle's Au Revoir, Les Enfants but it is still an entertaining film. The film was nominated for Best Picture at the 54th Academy Awards. The only nominee I have seen is Raiders of the Lost Ark which I thought was better than this film. I also thought Spielberg directed Raiders better than this film. I haven't seen Lancaster's other Best Actor nominees. I only other nominee I saw in Sarandon's category, Best Actress, was Meryl Streep who I thought acted as well as Sarandon and I wouldn't mind which actress won.

Mr and Mrs Blobbo saw in theater at time. Duel reaction - Meh. Update --- 40 years later movie plays better. (Maybe because Blobbo older.)

A poem about the dreams of youth and a last shot at grabbing them, "Atlantic City" can't help but capture your heart. Burt Lancaster and Susan Sarandon come together as two unlikely heroes who save each other in lovely, surprising ways. Lancaster, an aging two-bit criminal, carries himself with just enough panache to score nubile Sarandon and the great mob hit he always dreamed of. Nice to see an older guy played, not with a halting gait, but big brass balls and a swagger.

Awesome cast and portraits makes the movie unforgettable.

Superb little movie. Burt Lancaster, even at the end of his career, give a wonderful, fully rounded performance. There is a huge Canadian presence as many, if not most of the supporting cast, from Kate Reid on down are familiar to Canadians from film 온라인카지노추천 shows and even commercials.

How this gets such high ratings is beyond me. A fairly boring movie, in an ugly place, an ugly time, with unappealing characters. Some good acting, but totally dull and seedy....well it is called ‘Atlantic City’ after all.

Lancaster was as good as always but the story is really slow.

Sally Matthews (Susan Sarandon) is a young waitress in an Atlantic City casino who has dreams of becoming a blackjack dealer in Monte Carlo. Sally's estranged husband Dave (Robert Joy) returns to her one day with the intention of selling a large amount of cocaine that he had stolen in Philadelphia and meets Lou Pascal (Burt Lancaster), an aging former gangster who lives in Sally's apartment building and runs a numbers game (an illegal lottery) in poor areas of the city; he also acts as a caretaker for Grace, a seemingly bedridden aging beauty. Dave convinces Lou to sell the cocaine for him, but as Lou sells the first batch, Dave is attacked and killed by the mobsters from whom he had stolen the drugs. Lou is left with the remaining cocaine and continues to sell to impress Sally, whom he has long pined for, with money. Sally and Lou make love one day, but she returns to her apartment to find it trashed; she has been tracked down by Dave's killers, who beat her to find out if she has the drugs. They leave, but Lou laments not being able to protect her. Sally is fired from the casino when her late husband's criminal record is discovered. Lou sells most of the remainder of the cocaine, while both Sally and the mobsters discover Lou's affiliation with Dave. The mobsters corner them one night, but are killed when Lou produces a gun and shoots them. He and Sally then steal their car and leave the city. That night, from a motel outside Atlantic City, they watch the 온라인카지노추천 news reporting on the killing. A police sketch of the suspect is shown. It looks nothing like Lou. Lou is overjoyed with relief and pride. He confesses to Sally that this was the first time he had ever killed anyone... The film opened to critical acclaim and was nominated for the Big Five Academy Awards: Best Picture, Best Director, Best Actor (for Lancaster), Best Actress (for Sarandon), and Best Original Screenplay, but did not win in any category. In Canada, it won Genie Awards for Best Performance by a Foreign Actress (for Sarandon), Best Supporting Actress (for Reid), and Best Art Direction, with three additional nominations. In France, it was nominated for the César Awards for Best Original Screenplay and Best Music. Despite this, it was a box office disappointment, grossing $12.7 million against its $7.2 million budget. I have to say that I don´t understand the Oscar nominations for this stale, linear and a bit boring Louis Malle film. The story about an aging wannabe gangster is not very intriguing nor exciting to my mind. The editing is strange, the flow strange and the acting a bit so so. The main characters are underdeveloped and they leave no real marks. Everything is a bit flat and static. I really like Susan Sarandon, always have, and the same goes for good ol´ Burt Lancaster, but this is disappointing in my book at least.

It's interesting that my favorite Burt Lancaster film is one where is so old.

I have a soft spot for AC. We would spend a week each summer in a condo my great uncle owned in the Ocean Club. Even today, the cigarette smell caked into the carpets of the casinos brings me back to my childhood, where some of my earliest memories are on Atlantic City's beaches and boardwalk. This film takes place when AC was making its transformation into a corporate casino destination. Lou Pascal (played by the wonderful Burt Lancaster) laments the evolution with quips like "Soon Howard Johnson will be opening up a casino." (paraphrasing.) He yearns for a time when organized crime ran the city — we see a piece of this with the old-school, in-the-know, smoke-filled gambling that takes place behind closed doors. The relationship between Lou and Grace (Kate Reid), who is a poor man's Norma Desmond (Sunset Boulevard) is a joy to watch, whether Grace is chastising him or they're snuggling up in bed together. Susan Sarandon gives a great performance as Sally Matthews, one of the numerous workers that turn the cogs of Atlantic City's burgeoning service industry. All shot in and around location, Atlantic City does a fantastic job of showing a city in transition and how its generations, old and new, are coping with the changes.

Timeless Classic. Its about as many years removed since this movie was made as when Lancaster is reminiscing about the real glory days of A.C.

With an almost surprising amount of sophistication and dignity for a movie about Atlantic City, Malle's bittersweet story of a person and a place's rejuvenation balances the longing for past glory days with hope for future better ones while filling its characters with agency, desire, and warmth.

How rare it is to see a film defined as a crime/thriller feature genuinely interesting characters that the film is more interested in exploring than the ostensible plot. This is to the benefit of the film as beyond the tale of cocaine passing through the hands of several different bizarre characters each with different hopes and dreams this is a love story, just not between the characters you might think. It is also a delight to see Susan Sarandon, leading a mainstream film for the first time, united with screen legend Burt Lancaster who reveals depths he never displayed in The Rose Tattoo (1955) and From Here to Eternity (1953) in older age. For lovers of art-house cinema this will satisfy their need for a quiet, contemplative film that explores the pain of people striving for bigger, better lives but for a wider audience it still contains the necessary thrills. Aspiring blackjack dealer Sally, Susan Sarandon, has made her way from Saskatchewan, Canada to Atlantic City and works at an oyster bar while taking classes in preparation to leave for Monte Carlo. Her life is disrupted when her ex-husband Dave Matthews, Robert Joy, comes back into her life with her immature sister Chrissie, Hollis McLaren, in tow. Matthews has stolen a package of cocaine intended for members of an organized crime syndicate and while they attempt to track him down he wants to sell the cocaine so that he can support his pregnant girlfriend. After Matthews is killed, a mysterious older gentleman living in the same apartment block as Sally enters her life. His name is Lou Pascal, Burt Lancaster, and he takes care of an aging Betty Grable look alike, Grace Pinza, Kate Reid, while longing for Sally. The two form a close relationship as he is able to financially support her by selling the cocaine and he claims to have an illustrious past as a criminal. After Sally is threatened the two go on the run and discover that Pascal may not have been as experienced as he claimed. The relationship between Sally and Pascal is one of the most realistic I have seen in this sort of film as he part lascivious old man and part chivalrous protector while she looks out for her own interests but isn't completely heartless. The Sally character is no femme fatale as we see how her everyday life wears her down and while Sarandon appears beautiful she is not Lauren Bacall or Rita Hayworth, she is simply a pretty young woman with real human concerns. When she attempts to run away with Pascal's money there is a touch of regret in her eyes and we sense that she does feel some affection for this man who protected her when no one else would. This is a by product of the world that she lives in as her ex-husband manipulates and controls her and her boss sexually harasses her but for a brief moment in time there is a real bond between herself and Pascal. The film ends the way it should as he has given her an opportunity at a better life while resigning himself to the fact that he will always be devoted to Grace more than anybody else. Lancaster is perfectly cast in this role as a man with glory days behind who still holds on to his integrity and self belief in his later years. There is more than a touch of ego in him and he does tend to over estimate his abilities but he cares about those around him and treats everybody with a general degree of respect. These are qualities that we associate Lancaster with as he is respected and dignified in The Leopard (1963) while not being aware of the changes that have swept society in the decades since his youth. He is complemented nicely by the bright young talent that was Sarandon at this point in her career as the bluster and fire that would become her trademarks are here but she also displays a fragility and a sadness not generally associated with her. The two have a fascinating chemistry that blurs the line between romance and father/daughter relationship but we care for both characters and never feel that we are watching two actors play these roles.

So disappointing. If this was nominated for best picture than 1980 must have been a TERRIBLE year for film