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The Color of Money
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The Color of Money
Theatrical release poster by Robert Tanenbaum[1]
Directed byMartin Scorsese
Screenplay byRichard Price
Based onThe Color of Money
by Walter Tevis
Produced by
Starring
CinematographyMichael Ballhaus
Edited byThelma Schoonmaker
Music byRobbie Robertson
Production
companies
Distributed byBuena Vista Distribution Co.
Release date
  • October 17, 1986 (1986-10-17) (United States)
Running time
120 minutes[2]
CountryUnited States
Languages
  • English
  • Spanish
Budget$14.5 million[3]
Box office$120.3 million

The Color of Money is a 1986 American sports drama film directed by Martin Scorsese. It is the sequel to the 1961 film The Hustler. Like the previous film, The Color of Money is based on a novel by Walter Tevis.

The film stars Paul Newman reprising his role as "Fast Eddie" Felson, for which he won the Academy Award for Best Actor. The film also stars Tom Cruise playing a pool hustler, and features Mary Elizabeth Mastrantonio as the girlfriend of Cruise's character. The plot follows the trio as they hustle pool halls and make their way to a nine-ball tournament in Atlantic City. It received positive reviews from critics, though some considered it inferior as a sequel to The Hustler.

Plot

[edit]

Former pro-pool player "Fast Eddie" Felson has given up the game and is now a successful liquor salesman in Chicago. However, he partners with pool players, including a hustler named Julian, who is outmatched at nine-ball by the young and charismatic Vincent Lauria. Recognizing Vincent's skill, and his girlfriend Carmen's inexperience at luring players to lose money, Eddie tells the couple of their excellent potential for hustling.

Carmen visits Eddie alone to inquire about his interest in Vincent. Finding him working at Child World, Eddie invites Vincent to leave the next day for six weeks of hustling on the road, culminating in a nine-ball tournament in Atlantic City. Manipulating Vincent's insecurities about Carmen and giving him a valuable Balabushka cue stick, Eddie persuades him to accept his offer. Eddie's abrupt departure upsets Julian, as well as Eddie's girlfriend, Janelle.

Vincent and Carmen hit the road with Eddie in his Cadillac, visiting a series of pool halls, with Eddie taking most of any winnings and absorbing losses. Eddie attempts to teach him the art of hustling, but Vincent balks at having to play below his ability. At a pool hall run by his old acquaintance, Orvis, Eddie becomes fed up with Vincent's arrogance, and leaves him. In Vincent's absence, Eddie reminds Carmen that they are partners with a mutual business interest in Vincent. Eddie returns to find Vincent grandstanding, beating the pool hall's best player but scaring off a wealthier mark. Eddie and Vincent talk frankly, agreeing that Vincent must curb his ego if they are to succeed.

Eddie and Carmen struggle to rein in Vincent's showboating. After a string of successful games, Vincent plays the famed Grady Seasons, but is directed by Eddie to dump the game to inflate the odds against Vincent in Atlantic City. Goaded by Grady, Vincent nearly fails to throw the game, and Eddie is inspired to play again. After some success, Eddie is beaten by Amos, a hustler. Humiliated, Eddie leaves Vincent and Carmen with enough money to make it to Atlantic City.

Eddie enters the Atlantic City tournament, in which he triumphs against Vincent. Vincent surprises Eddie in his room and explains that, after boosting his odds by beating Grady, he bet on Eddie and dumped their match. Before leaving, Vincent and Carmen give Eddie $8,000, his "cut" of their winnings.

In his semifinal match, Eddie forfeits the game and returns Vincent's money. Determined to win legitimately, Eddie faces Vincent in a private match, declaring, "I'm back!"

Cast

[edit]

Production

[edit]
To perform his own pool shots, Tom Cruise practiced for hours on end.

Paul Newman called Martin Scorsese in September 1984 and asked him if he was interested in directing a sequel to The Hustler. The original screenplay sent to Scorsese was written by Darryl Ponicsan and it "incorporated the first twelve minutes of the original film" according to Scorsese. Walter Tevis wrote a sequel to his novel The Hustler, called The Color of Money, and died the same day producer Irving Axelrad received galley proofs of the book.[4]

Scorsese shot the film in 49 days at a cost of $14.5 million, $1.5 million under budget.[5] Michael Ballhaus was the cinematographer for the film. The Color of Money was released by Touchstone Pictures, after both 20th Century Fox and Columbia Pictures declined.[3] Richard Price adapted Tevis's novel. Although it features some characters from the novel, it was not written to be a sequel.[3] A screenplay was written by Tevis, but the filmmakers decided not to use it.[6][7] Jean-Pierre Léaud was briefly considered for the role of Vincent.[8] It was shot in and around Chicago, with much of the filming taking place in pool and billiard halls, rather than in built sets.[9][10] The film was edited by Thelma Schoonmaker, who used closeup shots of pool balls being played, as well as wider visuals of the players, to get across the visual of a pool hall.[3]

Scorsese considered shooting the film in black and white.[11] He cited the influence of techniques and lighting in the 1947 Powell-Pressburger film, Black Narcissus, when making The Color of Money. In particular, he stated that the extreme closeups of Tom Cruise around the pool table were inspired by those of the nuns in that film.[12]

Newman said that the best advice he was given by Scorsese was to "try not to be funny". Cruise performed most of his own pool shots. An exception was a jump shot over two balls to pot another. Scorsese believed that Cruise could learn the shot, but that it would take too long, so the shot was performed for him by professional player, Mike Sigel. Cruise mentioned that, to prepare for the role, he bought a pool table for his apartment and practiced for hours on end. Standing in for the valuable Balabushka cue in the movie is a Joss J-18 (which became the Joss 10-N7), made to resemble a classic Balabushka.[13]

Sigel was a technical director, and he and fellow player, Ewa Mataya Laurance, served as technical consultants and shot performers in the film. Absent from the film is the character Minnesota Fats, played by Jackie Gleason in The Hustler.[3] Newman said that he had wanted the character to appear, but that none of the attempts to include him fit well into the story that was being written. According to Scorsese, Gleason apparently agreed with Newman's opinion that Minnesota Fats was not essential to the film's story. Scorsese said that Gleason was presented with a draft of the script that had Fats worked into the narrative, but after reading it, Gleason declined to reprise the role because he felt that the character seemed to have been added as "an afterthought".[7][14]

Release

[edit]

The Color of Money had its world premiere at the Ziegfeld Theater in New York City October 8, 1986. The film went into wide release in the United States October 17, 1986.[15] The American release was limited to select theaters throughout the country, with the film opening in more theaters during the next four weeks of its initial release. After its run, the film grossed $52,293,982 domestically.[16] The film was released on DVD January 3, 2000,[17] and on Blu-ray June 5, 2012.[18]

Reception

[edit]

Critical response

[edit]
Paul Newman's performance received positive reviews, earning him the Academy Award for Best Actor.

The Color of Money received a generally positive critical response on its release, although some critics thought that the film was an inferior followup to The Hustler. Based on 48 reviews collected by Rotten Tomatoes, the film received an 88% approval rating from critics, with an average score of 7.10/10. The site's consensus reads: "That it's inferior to the original goes without saying, but Paul Newman and Tom Cruise are a joy to watch, and Martin Scorsese's direction is typically superb."[19] Review aggregator website Metacritic reported a weighted average score of 77 out of 100, based on 17 critics, indicating "generally favorable reviews".[20] Audiences polled by CinemaScore gave the film an average grade of "B−" on a scale of A+ to F.[21]

The film was praised for the major cast. Vincent Canby, writing for The New York Times, commented on the "three fully realized" main characters, and that the journey with them throughout the film is "most satisfying".[22] Canby, however, also commented that it "lacks in narrative shapeliness", before giving the film 9 out of 10.[22]

Sheila Benson of the Los Angeles Times called these characters an "electrifying unholy trio", and praised the metaphors between hustling and pool.[23]

Miami Herald writer Bill Cosford, however, commented that "whatever Scorsese and Price have to say about these marvelous characters, it is not anything interesting".[24]

Tom Hutchingson of Radio Times said that Newman "deserved" to win an Oscar for his performance.[25]

Reviewers compared The Color of Money with other Scorsese films. Jason Bailey, writing for Flavorwire, described the film as only "mid-level" for the director, but that it was so "overpowering ... jazzy and boisterous" that he could not help but enjoy.[26]

The Chicago Tribune's Gene Siskel commented that the "grit is gone", for Scorsese was not backed up by a veteran contributor, as in his other works.[27]

People commented that the film benefited from the cast of characters, and Scorsese's choice of actors.[28]

Accolades

[edit]

For The Color of Money, Newman received the Academy Award for Best Actor, his first Academy Award and his seventh nomination.[3]

Award Category Nominee(s) Result Ref.
Academy Awards Best Actor Paul Newman Won [29]
Best Supporting Actress Mary Elizabeth Mastrantonio Nominated
Best Screenplay – Based on Material from Another Medium Richard Price Nominated
Best Art Direction Boris Leven and Karen O'Hara Nominated
Cahiers du cinéma Best Film Martin Scorsese Nominated [30]
Golden Globe Awards Best Actor in a Motion Picture – Drama Paul Newman Nominated [31]
Best Supporting Actress – Motion Picture Mary Elizabeth Mastrantonio Nominated
MTV Video Music Awards Best Video from a Film Eric Clapton – "It's in the Way That You Use It" Nominated [32]
National Board of Review Awards Top Ten Films 6th Place [33]
Best Actor Paul Newman Won
National Society of Film Critics Awards Best Actor 3rd Place [34]
New York Film Critics Circle Awards Best Actor 2nd Place [35]
Best Supporting Actress Mary Elizabeth Mastrantonio 3rd Place

Soundtrack

[edit]

The soundtrack album of the motion picture was released by MCA Records in 1986.[36] Robbie Robertson produced the score for the film.[37]

Track listing:

  1. "Who Owns This Place?" (Don Henley/Danny Kortchmar/JD Souther) – Don Henley (4:55)
  2. "It's in the Way That You Use It" (Eric Clapton/Robbie Robertson) – Eric Clapton (4:00)
  3. "Let Yourself in for It" (Robert Palmer) – Robert Palmer (5:20)
  4. "Don't Tell Me Nothin'" (Willie Dixon) – Willie Dixon (4:42)
  5. "Two Brothers and a Stranger" (Mark Knopfler) – Mark Knopfler (2:42)
  6. "Standing on the Edge of Love" (Jerry Lynn Williams) – B.B. King (3:59)
  7. "Modern Blues" (Robbie Robertson) – Robbie Robertson (2:57)
  8. "Werewolves of London" (L. Marinell/Waddy Wachtel/Warren Zevon) – Warren Zevon (3:24)
  9. "My Baby's in Love with Another Guy" (H. Brightman/L. Lucie) – Robert Palmer (2:30)
  10. "The Main Title" (Robbie Robertson) – Robbie Robertson (2:46)

Legacy

[edit]

A line in the film spoken by Tom Cruise — "In here? Doom" — inspired the title of the popular 1993 video game, Doom.[38]

The 1996 nine-ball challenge match between Efren Reyes and Earl Strickland was named "The Color of Money" in honor of the film. The second challenge, which took place in 2001, was titled "The Color of Money II".[39][40]

See also

[edit]

References

[edit]

Works cited

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Color of Money

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from Grokipedia
The Color of Money is a 1986 American sports drama film directed by Martin Scorsese, starring Paul Newman as Fast Eddie Felson, Tom Cruise as Vincent Lauria, and Mary Elizabeth Mastrantonio as Carmen. Released on October 17, 1986, by Touchstone Pictures, it serves as a sequel to the 1961 film The Hustler, following the aging pool hustler Felson as he mentors a talented young player and rediscovers his competitive edge in the underground world of nine-ball hustling. The screenplay, adapted by Richard Price from Walter Tevis's 1984 novel of the same name, centers on Felson, now a liquor salesman, who spots Vincent in a Chicago bar and agrees to coach him and Carmen on a road trip through pool halls, teaching them scams and strategy while building toward a major tournament in Atlantic City. Conflicts emerge from Vincent's impulsive showmanship and Carmen's growing influence, causing the group to fracture and prompting Felson to confront his own faded ambitions by returning to competitive play. Principal photography took place in Chicago, Illinois, and Atlantic City, New Jersey, with a production budget of about $15 million, completed under budget, and the film emphasizing authentic pool sequences filmed on location. Critically, The Color of Money garnered positive reception, earning an 87% Tomatometer score on , where the consensus highlights the engaging performances by Newman and Cruise alongside Scorsese's assured direction, despite comparisons to the superior predecessor. Commercially, it succeeded with an opening weekend gross of $6.4 million across 635 theaters and a worldwide total of $52.3 million, outperforming expectations for a mid-budget . At the , the film received four nominations— (Newman, who won, securing his sole competitive Oscar), Best Supporting Actress (Mastrantonio), Best Adapted Screenplay (Price), and Best Art Direction—and was named one of the National Board of Review's Top Ten Films of 1986.

Background and Development

Source Material

The direct literary source for the 1986 film The Color of Money is the of the same name, written by and published in 1984 by Warner Books. In the book, Fast Eddie Felson—now a middle-aged poolroom owner in who has long retired from hustling—is drawn back into the game when he reconnects with his old rival, Minnesota Fats, to embark on a tour of exhibition matches across the Midwest. This partnership reignites Eddie's competitive fire, leading him to confront personal regrets, including a past affair, and ultimately enter a tournament against younger players, where he seeks to reclaim his legendary status. The film's , however, substantially alters the novel's narrative structure and character dynamics. While Tevis's story centers on Eddie's with Fats and his internal struggle for revival through direct competition, the by discards this framework, instead portraying Eddie as a salesman who stakes and mentors a brash young pool hustler, emphasizing themes of manipulation, generational conflict, and self-rediscovery. Tevis himself authored an early adaptation, but it was not used in the final production. The Color of Money serves as a to Tevis's 1959 novel , which introduced Eddie Felson as a ambitious young pool shark navigating the of professional hustling and moral compromise. The 1961 film adaptation of , directed by and starring as Eddie, closely followed the original novel's depiction of his rise and ethical awakening. Tevis's 1984 expands Eddie's character arc by exploring his post-Hustler life, depicting a faded icon grappling with midlife stagnation and the temptation to recapture lost glory through renewed engagement with the sport. The project's development began in the early 1980s when , reprising his iconic role as Fast Eddie Felson, secured the rights to Tevis's unpublished manuscript before it was even sold to a publisher. Enthralled by the sequel's potential, Newman approached in September 1984 with a flattering letter proposing he direct the adaptation, marking a pivotal collaboration that transformed the novel into a cinematic exploration of aging and ambition.

Pre-production

The pre-production of The Color of Money began in 1984, when Paul Newman approached Martin Scorsese to direct a sequel to the 1961 film The Hustler, drawing from Walter Tevis's 1984 novel of the same name as a loose basis. Scorsese, coming off the commercial disappointment of The King of Comedy (1982), initially showed reluctance but committed after Newman's persuasion, viewing the project as a pragmatic "one for them" endeavor to secure funding for more personal films like The Last Temptation of Christ. He aimed to reimagine the story 25 years later, emphasizing Fast Eddie Felson's psychological evolution as an aging hustler scouting talent, while incorporating stylistic nods to The Hustler's character dynamics and tension around the pool table. Screenwriter was brought on to adapt the material, conducting extensive research by traveling with real pool hustlers to capture authentic street nuances and . Departing from a literal of Tevis's , Price's script shifted focus to a fresh centered on , manipulation, and moral ambiguity, avoiding clichéd tropes like a direct rematch with Minnesota Fats; instead, it portrayed Eddie as a liquor salesman discovering a young protégé. The process involved numerous intense conferences with Scorsese and Newman, resulting in multiple revisions that scrutinized every line and punctuation mark to align with Scorsese's vision of intrigue beyond the game itself. The production was budgeted at $14.5 million by , with a planned 50-day shooting schedule, and Scorsese, Newman, and others deferred one-third of their salaries to mitigate overrun risks. Location scouting centered on to authenticate the gritty pool hall milieu, with the team selecting sites like Chris's Billiards—a rundown northwest-side venue—for its unpolished atmosphere, ensuring the film's environments reflected genuine hustler culture without relying on constructed sets. , including brainstorming sessions in New York, extended through 1985, setting the stage for to commence in early 1986.

Plot and Characters

Plot Summary

Twenty-five years after the events depicted in , former pool hustler "Fast Eddie" Felson has settled into a comfortable life as a liquor salesman in , driving a white and overseeing sales routes, but he feels a lingering boredom with his routine existence. One night, while visiting a bar, Eddie discovers Lauria, a cocky and immensely talented young pool player who works at a local toy store during the day, demonstrating his skills in informal games. Impressed by Vincent's raw talent, Eddie approaches him and his street-smart girlfriend , proposing they team up for a to hustle pool across the Midwest, with Eddie staking the bets and taking the majority of the winnings in a 75/25 split. As they travel from town to town, Eddie mentors in the art of , teaching him to deliberately underplay his abilities to lure unsuspecting opponents into larger wagers before revealing his full prowess to win big. However, chafes under this discipline, preferring to showcase his flashy style and true skill in every game, which often risks exposing their scams and leads to tensions with , who becomes increasingly involved in plotting the cons. Inspired by 's passion, Eddie begins playing again himself, initially winning small stakes, but during a stop in a smoky bar, he encounters Amos, an old acquaintance and cunning hustler who uses a deceptive trick to defeat Eddie humiliatingly, costing him a significant sum and shattering his confidence. Shaken by the loss and his own vulnerability, Eddie abruptly parts ways with and , handing them stake money and instructions to head to the lucrative tournament in Atlantic City without him. Determined to reclaim his edge, Eddie acquires new corrective glasses to sharpen his focus, intensifies his training on , and arrives in Atlantic City to enter the tournament, methodically advancing through early rounds by blending calculated risks with precise shots. Meanwhile, and reach the event, where has evolved into a more pragmatic hustler. In their tournament match, intentionally throws the game against Eddie to secure a side bet, allowing Eddie to win and later giving him $8,000 as his cut of the winnings. Learning of the hustle, Eddie forfeits his subsequent semi-final match in disgust, rejecting the tainted progress. Rejecting the tournament's corruption, Eddie confronts Vincent outside the venue, returning the money and challenging him to a private, no-holds-barred match for $10,000 a game with no or tricks allowed, symbolizing Eddie's full return to competitive form. Vincent protests that Eddie used them, but Eddie declares "I'm back!" and drives off alone in his , renewed in his passion for the game and independent once more.

Cast

The principal cast of The Color of Money (1986) features reprising his role as the seasoned pool hustler "Fast Eddie" Felson, a character he first portrayed in (1961), 25 years earlier. Newman's performance earned him the . plays Vincent Lauria, a talented but inexperienced young pool player whom Felson mentors. portrays Carmen, Vincent's sharp-witted girlfriend and accomplice in the hustling world. Supporting roles include as Janelle, Eddie's romantic interest and a bar owner, adding emotional depth to his storyline. John appears as Julian, a rival figure in the pool circuit, while plays Orvis, a bartender who interacts with the protagonists in key scenes. To prepare for their roles, underwent intensive pool training under professional champion , who coached both leads on technique and strategy in ; Cruise handled nearly all of his character's difficult shots on film. , returning to the Felson character after a quarter-century hiatus, also received guidance from Sigel to refine elements like his break shot.
ActorRoleDescription
Eddie "Fast Eddie" FelsonAging pool hustler and mentor.
Vincent LauriaYoung, skilled pool prodigy.
CarmenVincent's partner in hustling.
JanelleEddie's love interest.
JulianRival in the pool scene.
OrvisSupportive bartender figure.

Production Process

Filming

Principal photography for The Color of Money took place over a strict 49-day schedule in early 1986, primarily in and around , , and in , to capture the gritty authenticity of urban pool hustling. Filming began on January 21 and wrapped on March 11, allowing the production to stay under budget and ahead of schedule, a rarity for director . Key locations included historic pool halls such as Chris's Billiards at 4637 North Milwaukee Avenue, where several intense match scenes were shot over five days, and Fitzgerald's Bar in nearby Berwyn for the early sequence featuring Tom Cruise's character being discovered. These venues provided the smoky, dimly lit atmospheres essential to the story, though crews installed large smoke-eaters to manage air quality during extended shoots. Pool match setups demanded meticulous preparation, with custom cues central to the realism. Paul Newman's character, Fast Eddie Felson, prominently handles a custom Joss cue referred to as a George Balabushka in the film, symbolizing craftsmanship and legacy in the sport; the prop was not a genuine example of the renowned cue maker's work but designed to resemble one, while Joss cues were used for performers. Challenges arose in the hazy pool hall environments, where cigarette smoke complicated lighting setups—cinematographer Michael Ballhaus had to balance low-key illumination to evoke tension without obscuring the action, often relying on practical lights from table pendants to pierce the fog. Tom Cruise executed most of his own trick shots after intensive training, including complex banks and jumps, but professionals like Mike Sigel handled one elaborate leap over balls to expedite filming and control costs. On-set dynamics reflected Scorsese's blend of precision and flexibility, with used to heighten naturalism in mentor-protégé exchanges. Newman, reprising his from (for which he had received an Academy Award nomination), mentored Cruise both in acting and pool technique, fostering a genuine that infused their scenes with chemistry; Scorsese and Newman even playfully "roughed up" the overly polite Cruise to draw out a edgier, more streetwise Vincent Lauria. This collaborative energy, including Newman's suggestion of Cruise for the part, contributed to the film's rhythmic pacing, though the studio-mandated structure limited Scorsese's usual freewheeling approach compared to his independent works.

Technical Contributions

The cinematography of The Color of Money, handled by in his second collaboration with director , emphasized dynamic pool sequences through fast and fluid camera movements that captured the high-stakes energy of the games. Ballhaus employed a ceaselessly gliding camera, often utilizing techniques, to create immersive, tension-filled shots that followed the action around the table while navigating reflective surfaces and tight spaces with apparent ease. This approach not only heightened the visual rhythm of the matches but also infused the urban settings with a gritty realism, achieved via naturalistically lit night exteriors that evoked the seedy underbelly of 1980s pool halls. Editor , a longtime Scorsese collaborator, crafted the film's pacing to build suspense during pool confrontations, employing rapid "whiplash" cuts between extreme close-ups of cue , billiard balls colliding, cigarettes, and cash to underscore themes of and . These montages transformed routine shots into visceral, rhythmic sequences—likening the pocketing of balls to erotic encounters and chalking the cue to a ritualistic habit—thereby amplifying emotional stakes without relying on dialogue. Schoonmaker's precise timing ensured that the mirrored the psychological intensity of the hustlers' world, making each match feel like a high-wire act. Production designer Boris Leven contributed to the film's authenticity by recreating the dimly lit, smoke-filled ambiance of pool halls, contrasting the muted grays and blacks of 's working-class venues with the opulent colors of Atlantic City's tournament settings to symbolize the characters' ascent. Much of the production utilized real billiard parlors in and around as backdrops, with Leven's sets enhancing their lived-in grit through detailed props like worn felt tables and signage. Complementing this, supervising sound editor Skip Lievsay's design amplified the tactile impacts of cue balls striking objects, using crisp clacks and echoes to intensify the auditory drama of each shot, maintaining stylistic continuity with earlier pool films while adapting to the era's urban .

Release and Commercial Performance

Theatrical Release

The Color of Money had its world premiere on October 8, 1986, at the Ziegfeld Theatre in , where stars and attended the event alongside director . The film received a wide theatrical release in the United States nine days later, on October 17, 1986, distributed by through Buena Vista Distribution Company. Marketing efforts centered on the film's status as a to the 1961 classic , with trailers prominently featuring Newman's reprisal of the iconic role of "Fast Eddie" Felson and his dynamic pairing with the up-and-coming Cruise as his protégé Vincent Lauria. These promotional materials highlighted the high-stakes world of pool hustling, Scorsese's direction, and the film's blend of drama and suspense to draw audiences familiar with the original. The campaign also included tie-ins with billiards equipment manufacturers, capitalizing on the movie's authentic portrayal of the sport to generate buzz among enthusiasts. Internationally, the film began its rollout in early 1987, opening in the United Kingdom on March 6 to capitalize on Newman's Oscar momentum from the U.S. release. Key markets such as France and Germany followed shortly thereafter, with screenings emphasizing the star power and thematic continuity from The Hustler to broaden its appeal beyond North America.

Box Office and Home Media

The Color of Money opened in wide release on October 17, 1986, earning $6.4 million in its domestic opening weekend across 635 theaters. The film ultimately grossed $52.3 million domestically, surpassing its $14.5 million production budget and marking a commercial success for Touchstone Pictures. On home media, the film was first released on DVD by Buena Vista Home Entertainment on March 14, 2000. A 25th Anniversary Edition Blu-ray followed on June 5, 2012, featuring a high-definition transfer and supplemental materials including commentary tracks. As of 2025, The Color of Money is available for streaming on Disney+, reflecting its integration into the platform's catalog of classic films.

Critical Reception and Accolades

Initial Reviews

Upon its release in 1986, The Color of Money received generally positive reviews from critics, who praised its strong performances and energetic depiction of the pool hustling world, though some found it formulaic compared to its predecessor, (1961). The film holds an 87% approval rating on based on 47 reviews, with a consensus highlighting its stylish direction and Paul Newman's commanding return as Fast Eddie Felson. On , it scores 77 out of 100 from 18 critics, indicating generally favorable reception. Critics widely acclaimed Paul Newman's charismatic and nuanced performance as the aging hustler Eddie Felson, noting his ability to convey quiet intensity and vulnerability through subtle close-ups. Martin Scorsese's direction was commended for its raw, observant portrayal of the professional pool subculture, infusing the film with a distinctive pulse and visual flair. The pool sequences stood out for their kinetic energy and authenticity, with the dynamic interplay between Newman's mentor figure and Tom Cruise's brash protégé Vince adding tension and excitement. Variety described the film as immaculately crafted, with exceptional turns from Newman and Cruise that captured the hustlers' world vividly. Similarly, The New York Times praised the ensemble, including Mary Elizabeth Mastrantonio's compelling role as , for delivering their best work and giving the sequel a fresh, entertaining identity. However, some reviewers criticized the film for lacking the depth and dramatic electricity of , relying instead on predictable Hollywood tropes and uneven pacing in its latter acts. , rating it 2.5 out of 4 stars, argued that while early scenes hummed with energy—particularly those involving manipulation and budding relationships—the narrative faltered without a climactic showdown, leaving Newman's feeling static and underdeveloped. and ultimately gave the film thumbs down on their television show, viewing it as a disappointment given Scorsese's talent. Despite these reservations, Newman's performance earned him an nomination.

Awards

At the , held on March 30, 1987, at the in and hosted by , The Color of Money received four nominations and secured one win. won the for reprising his role as Fast Eddie Felson, marking his first competitive Oscar after six prior nominations spanning three decades. was nominated for Best Actress in a Supporting Role for her performance as Carmen, the young woman who becomes entangled in the world of professional pool . The film also earned nominations for Best Writing – Screenplay Based on Material from Another Medium (, adapting Walter Tevis's novel) and Best Art Direction (Boris Leven and Karen O'Hara). Newman's victory was particularly notable, as it came on his seventh acting nomination and highlighted his enduring screen presence in a career that included iconic roles in films like , the 1961 predecessor to The Color of Money. The film was also named one of the National Board of Review's Top Ten Films of 1986. In addition to the Oscars, the film garnered two nominations at the 44th in January 1987: Best Actor – Motion Picture Drama for Newman and Best Supporting Actress – Motion Picture for Mastrantonio, though it did not win in either category.

Music and Soundtrack

Original Score

The original score for The Color of Money (1986) was composed by in collaboration with director , marking their first joint effort on a full . Drawing from Robertson's roots in rock and , the score incorporates a gritty, sleazy -rock aesthetic tailored to the film's seedy pool-hall environments and hustler culture. Robertson aimed to evoke an authentic vibe, enlisting legend for recordings and jazz arranger for orchestration, resulting in approximately 25 minutes of original music. Key instrumental cues include "The Main Title," a brooding theme featuring prominent guitar riffs that underscore protagonist Eddie Felson's (Paul Newman) personal resurgence and competitive drive throughout the narrative. Another pivotal track, "Modern Blues," blends lines with orchestral swells to heighten tension during high-stakes moments, reflecting the film's themes of redemption and rivalry. These elements often feature raw guitar work paired with and keyboard accents, capturing the impulsive energy of pool games. The score integrates seamlessly yet distinctly with the film's diegetic , contrasting its non-diegetic, atmospheric against the lively and tunes that play within scenes of and barroom banter. This juxtaposition amplifies the narrative's rhythm, using the original to provide emotional depth and propulsion during Eddie's training montages and climactic matches, while the source grounds the characters' social interactions. Scorsese incorporated some of Robertson's early demo sketches directly into the edit, praising their raw fit for the story's moody undercurrents. Several score cues, such as "The Main Title," appear on the commercial alongside licensed songs.

Soundtrack Album

The soundtrack album for The Color of Money, titled The Color of Money: The Original Motion Picture Soundtrack, was released by on October 17, 1986. Produced by , it features a compilation of rock and tracks recorded specifically for the film or licensed for its use, emphasizing the story's themes of hustle and redemption through contemporary performances. The album consists of 10 tracks, blending original compositions and covers by established artists. Standout singles include 's "It's in the Way That You Use It," co-written with Robertson for the film's theme, and 's closing track "The Usual." The full track listing is as follows:
No.TitleArtistLength
1"Who Owns This Place?" (The Color of Money Version)4:58
2"It's in the Way That You Use It" (The Color of Money Version)4:58
3"Let Yourself in for It"4:24
4"Don't Tell Me Nothin'"3:35
5"Two Brothers and a Stranger"2:45
6"Standing on the Edge of Love"3:34
7"Modern Blues"Robbie Robertson featuring 3:43
8"Angel of Darkness (As I Fight Some Demon)"4:00
9"That's My Home"3:00
10"The Usual"4:35
Clapton's "It's in the Way That You Use It" also received a Grammy Award nomination for Best Rock Performance by a Duo or Group with Vocal in 1987.

Legacy and Influence

Cultural Impact

The release of The Color of Money in contributed to a notable revival in pool hall culture and the sport's popularity during the late and . The film helped elevate billiards from a niche activity to a more mainstream interest, with equipment sales rising by more than 100% in the years immediately following its premiere, as reported in industry surveys. This surge was further evidenced by upscale pool venues emerging in urban areas, attributing part of their appeal to the movie's portrayal of high-stakes . The picture particularly amplified interest in nine-ball tournaments, a format central to the story, leading to increased participation and high-profile events that echoed its competitive intensity. One direct outcome of this influence was the 1996 "Color of Money" challenge match between pool legends and , a $100,000 winner-take-all race-to-120 in sponsored by Ridgway's in . Named explicitly after the film, the event drew massive attention and is regarded as one of the most epic confrontations in pool history, with Reyes staging a comeback to win 120-117 after trailing by 17 racks. Beyond pool, the film's dialogue permeated , notably inspiring the title of the groundbreaking 1993 Doom. In a key scene, Tom Cruise's character Vincent Lauria responds to a question about his cue case with the line "In here? Doom," which id Software co-founder cited as the direct source for the game's name during development. In sports cinema, The Color of Money reinforced the mentor-protégé dynamic as a staple narrative device, with Paul Newman's Fast Eddie Felson guiding a young hotshot in a tale of rivalry and redemption that earned Newman his first . This structure, emphasizing generational conflict and growth through competition, became a recurring motif in films exploring athletic ambition.

Modern Interpretations

In the 2020s, retrospective essays and podcasts have increasingly praised The Color of Money for its nuanced examination of aging and personal redemption, themes that resonate with contemporary audiences reflecting on legacy and reinvention. A essay in Bright Wall/Dark Room analyzes the film as a on the " of age" and its impact on one's core pursuits, portraying Fast Eddie Felson's arc as a poignant confrontation with and renewal. These interpretations often draw parallels to Scorsese's own career transitions during the , positioning the film as a bridge between his independent roots and Hollywood mainstreaming. Podcasts have contributed to this reevaluation, with episodes dedicating space to the film's thematic depth. For example, the Now Playing Podcast's May 2020 discussion explores how Newman's performance captures the quiet dignity of redemption, while Cruise's role underscores generational tensions in mentorship and ambition. Such audio retrospectives, including a 2021 episode of The Best 80s & 90s Movies Podcast, emphasize the as a deliberate that invites viewers to ponder unresolved cycles of hustle and growth, praising its subtlety over more conclusive narratives. Recent events have revived interest in the film. In June 2025, the screened The Color of Money as part of the retrospective series ", Above and Beyond," drawing crowds to celebrate its role in Cruise's early stardom and Scorsese's stylistic innovations. As the film's 40th anniversary approaches in 2026, buzz has built in film blogs and industry outlets, fueled by announcements of a commemorative documentary produced by Just Do GOOD Entertainment in collaboration with Balabushka Cue Company, alongside limited-edition merchandise honoring the film's iconic props and themes. Scholarly engagement with The Color of Money remains limited, particularly in areas like gender dynamics. Analyses of Carmen's character (played by ) often highlight her limited agency within the male-dominated world of hustling, with critiques in noting misogynistic undertones in her portrayal as a peripheral figure tied to Vincent's arc. Broader academic work on Scorsese's evolution—such as his shift toward commercial projects while retaining personal motifs of moral ambiguity—is sparse, with few dedicated monographs or peer-reviewed articles beyond passing references in career overviews. No major adaptations, remakes, or sequels have materialized, leaving the 1986 film as the definitive screen realization of Walter Tevis's novel. Audience reception aggregates reflect sustained appreciation, with maintaining a critics' score of 87% as of 2025, supplemented by thousands of user reviews that reinforce its enduring appeal for themes of resilience and .

References

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