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The Cincinnati Kid (1965)

TV-14 | | Drama | 30 October 1965 (Japan)
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An up-and-coming poker player tries to prove himself in a high-stakes match against a long-time master of the game.

Director:

Norman Jewison

Writers:

Richard Jessup (novel), Ring Lardner Jr. (screenplay) | 1 more credit »
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Nominated for 1 Golden Globe. Another 1 win & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Steve McQueen ... The Cincinnati Kid
Ann-Margret ... Melba
Karl Malden ... Shooter
Tuesday Weld ... Christian
Edward G. Robinson ... Lancey Howard
Joan Blondell ... Lady Fingers
Rip Torn ... Slade
Jack Weston ... Pig
Cab Calloway ... Yeller
Jeff Corey ... Hoban
Theodore Marcuse ... Felix (as Theo Marcuse)
Milton Selzer ... Sokal
Karl Swenson ... Mr. Rudd
Émile Genest ... Cajun (as Emile Genest)
Ron Soble ... Danny
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Storyline

In 1930s New Orleans, the Cincinnati Kid, a young stud poker player who travels from one big game to the next, stopping along the way up with various girls, is pitted against the legendary champion card-sharp Lancey Howard in a high-stakes poker game. Written by alfiehitchie

Plot Summary | Plot Synopsis

Taglines:

HIGH FURY AND GNAWING FEAR!! See more »

Genres:

Drama

Certificate:

TV-14 | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

30 October 1965 (Japan) See more »

Also Known As:

Cincinnati Kid See more »

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Box Office

Gross USA:

$15,260,000
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Color:

Color (Metrocolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Mitzi Gaynor campaigned for the role of "Lady Fingers", but it ended up going to Joan Blondell. Rumors abound as to why Blondell got the role, with the most common being that Gaynor and Ann-Margret did not quite get along. See more »

Goofs

When the Kid is accusing Shooter of cheating by dealing him winning hands, Shooter begins to deny it, and the Kid grabs Shooter by the lapels and bangs him into the door. When he does that, the whole door and jamb and the wall beside it visibly shake and move, showing that the wall is definitely not a real wall. See more »

Quotes

Melba: [Cincinatti Kid slaps her butt] Ouch. You Bastard!
Cincinnati Kid: Cheers baby.
Melba: I hope you lose.
See more »

Alternate Versions

There are two different endings to this film. The first ending, which is shown in all vhs releases, after Stoner loses the coin throw to the shoe shine boy, the boy walks away saying "You're not ready for me yet, Kid." As the boy walks away, Stoner turns around and it fades into the ending credits. In the second (or extended) ending, which was shown on Turner Classic Movies, after Stoner loses the coin throw to the shoe shine boy, the boy leaves saying "You're not ready for me yet, kid." Stoner turns around and continues walking until he sees Christian, then embraces her. The frame then freezes and says "The End" before fading into the credits. See more »

Connections

Referenced in Hollywood Mouth 3 (2018) See more »

Soundtracks

The Cincinnati Kid
Music by Lalo Schifrin
Lyrics by Dorcas Cochran
Theme song of "The Cincinnati Kid"
Sung by Ray Charles
See more »

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User Reviews

 
The oldest kid in town
28 January 2006 | by paul2001sw-1See all my reviews

"There's always a kid", says Edward G. Robinson's character, "the man", in this film, and I guess there's always a man as well. In fact, the Cincinatti Kid is just about the least kid-like kid you could imagine, as Steve MacQueen was little more than ten years away from his death-bed when he played the part. I don't know what it is I like about Steve MacQueen: either his acting is very subtle indeed, or it's virtually non-existent, but there's something about his strong, silent, only reluctantly violent heroes that is innately more appealing than, say, the "make my day, punk" attitude of Clint Eastwood. Robinson's suave gambler is also an appealing figure in this movie. There's also some good use of traditional New Orleans jazz (but also some nasty, obvious strings on the soundtrack as well, reminding one of the equally ugly music in director Jewision's 'In the Heat of the Night', made at around the same time).

There are obvious parallels between this film and 'the Hustler', but while more modern, this film is also simpler in construction: there are some side-plots but ultimately, the characterisation (though strong) is static and it all comes down to the cards on the table. Someone wins, someone loses; but that's always the way. This isn't the deepest film you'll ever see, but it remains an immensely watchable one.


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