Movie |
Suicide | New York City
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Best Cinematography BlackandWhite | 1962
Best Art DirectionSet Decoration BlackandWhite | 1962
Top Male Dramatic Performance | 1962 | Paul
Top Cinematography Black and White | 1962
Top Male Supporting Performance | 1962 | Jackie
Best Written American Drama | 1962
1962 | Paul
Best Director | 1961
Best Actor in a Supporting Role | 1962 | George C.
Best Writing Screenplay Based on Material from Another Medium | 1962
Best Picture | 1962
Best Actor in a Leading Role | 1962 | Paul
Best Actress in a Leading Role | 1962 | Piper
Best Director | 1962
Best Supporting Actor | 1962 | George C.
Best Actor Drama | 1962 | Paul
Most Promising Newcomer Male | 1962 | George C.
Best Foreign Actress | 1962 | Piper
International Competition | 1962
Best Edited Feature Film | 1962 | Dede
Outstanding Directorial Achievement in Motion Pictures | 1962
Best Classic DVD | 2009
Best Foreign Language Film | 1963
Budget 2,000,000 USD
Box Office Collection 7,600,000 USD
Paul Newman and Jackie Gleason established a friendship on the set. At one point, Newman got a little cocky about his newfound pool skills and challenged the much more experienced Gleason to a $50 bet on a game. Newman broke, then it was Gleason's turn. He knocked all 15 balls in and Newman never got another shot. Gleason recalled that the next day Newman paid him off with 5000 pennies.
Piper Laurie didn't make another film for the next 15 years, devoting the time to her marriage and raising her only daughter. She returned to the screen in Carrie (1976), earning her second Oscar nomination.
All the pool shots in the movie are performed by the actors themselves (Paul Newman and Jackie Gleason) except one: the massé shot (cue ball sends two object balls into the same pocket), performed by Willie Mosconi.
One of the first mainstream Hollywood films to use the phrase, "Go to Hell."
Paul Newman had never held a pool cue before he landed the role of Fast Eddie Felson. He took out the dining room table from his home and installed a pool table so he could spend every waking hour practicing and polishing up his skills.
"[Fast Eddie is bothered because Bert called him a born loser] Fast Eddie: Cause, ya see, twice, Sarah... once at Ames with Minnesota Fats and then again at Arthur's, in that cheap, crummy pool room, now why'd I do it, Sarah? Why'd I do it? I coulda beat that guy, coulda beat 'im cold, he never woulda known. But I just hadda show 'im. Just hadda show those creeps and those punks what the game is like when it's great, when it's REALLY great. You know, like anything can be great, anything can be great. I don't care, BRICKLAYING can be great, if a guy knows. If he knows what he's doing and why and if he can make it come off. When I'm goin', I mean, when I'm REALLY goin' I feel like a... like a jockey must feel. He's sittin' on his horse, he's got all that speed and that power underneath him... he's comin' into the stretch, the pressure's on 'im, and he KNOWS... just feels... when to let it go and how much. Cause he's got everything workin' for 'im: timing, touch. It's a great feeling, boy, it's a real great feeling when you're right and you KNOW you're right. It's like all of a sudden I got oil in my arm. The pool cue's part of me. You know, it's uh - pool cue, it's got nerves in it. It's a piece of wood, it's got nerves in it. Feel the roll of those balls, you don't have to look, you just KNOW. You make shots that nobody's ever made before. I can play that game the way... NOBODY'S ever played it before. Sarah Packard: You're not a loser, Eddie, you're a winner. Some men never get to feel that way about anything."
"Fast Eddie: Maybe I'm not such a high-class piece of property right now. And a 25% slice of something big is better than a 100% slice of nothing."
