Paul Newman’s a movie star, so there’s an expectation of him and Pocket Money breaks that expectation, but then sets him up again… in about those five minutes. While the first act of Pocket Money takes maybe twenty minutes, Paul Newman’s character is fully established in the first five. The 1970s character study (Arthur Penn’s Night Moves is a good example of another) works in a kind of short-hand with the viewer. First, it’s a 1970s character study, which is a different genre than what currently passes for a character study (if there are character studies at all anymore, since Michael Mann and Wes Anderson stopped doing them). Pocket Money is, in addition to being an excellent film, an example of a couple interesting things.
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