Tag Archives: 9-ball

Shooting Gallery

Talk about a monte that is just plain jecka. Like sugar, honey, iced, tea. Are you smelling what I’m stepping in?

Actually, I hope you don’t step in it. I hope you run from it.

Because this sort of exaggerated slang is just one of the many problems with the 2005 straight-to-video billiards movie Shooting Gallery (aka Poolhall Prophets). Aspiring to be some mash-up between The Hustler and The Sting, Shooting Gallery tries to generate credibility by overindulging in the argot of pool hustlers and con artists. But, 30% of the lingo is made-up (according to the special feature), and the remaining 70% is so forced, it feels like the director/writer Keoni Waxman was double-dared to make every fifth word some form of billiards slang. Even worse, Waxman lacks the confidence to let the script breathe meaning into the words, and instead resorts to a cheap bit of opening credit hokum by literally showing translations of the jargon (e.g., “on the lemon” = playing bad on purpose; “shortstop” = local player; “cecil” = $100; etc.).

If the pool patois were the only problem in Shooting Gallery, maybe the monte (= movie) would be passable. Unfortunately, the entire 102 minutes is mos def (= most definitely) jecka ( = terrible). Behind the horrible dialogue is nonsensical story about Jericho Hudson (Freddie Prinze Jr, whose acting in this film makes Keanu Reeves appear Oscar-worthy), a street-smart pool player, who falls in with the Tribe, a New Orleans gaggle of hustlers, led by Cue Ball Carl Bridgers (Ving Rhames), a chicken-foot sucking, 8-ball cane-wielding kingpin. Each Tribe member is tattooed with an 8-ball, which makes beaucoup (= lots of) sense, given they are supposed to be incognito 9-ball hustlers.

Jericho quickly rises through the ranks of the Tribe; his success driven by his gift for hustling 9-ball and his ability to say with a straight face craptacular (= awful) dialogue, such as, “I was a hustler with a goal, which would make either happy or dead.” His one weakness seems to be Jezebel Black (Roselyn Sanchez), who “looked like two scoops of ice cream on a warm summer day.” (So that means what exactly…?)

Jericho gets himself into some trouble when he tries to hustle on the side. Jezebel gets herself into some trouble when she can’t pay off her gambling debts to ex-NFL great Bill Romanowksi. People keep getting hustled at the Shooting Gallery, a billiards hall run by Cue Ball Carl and widely and illogically known as a hustler’s paradise. A corrupt cop shows up with a need to set up a 9-ball game against Cue Ball Carl so he can retrieve a video cassette, the maguffin of the film. A coked-up crackshot named Tenderloin Tony appears, but is then killed. Some pool is played, but not that much. More idiotic dialogue is sputtered (“If I’m lying, I’m dying. – Jericho Hudson).

None of this make a lick of sense. Shooting Gallery plays like a string of two-bit hustling clichés strung together by poor acting and middle school dialogue. As I said at the start, this film is sugar, honey, iced, tea (= S.H.I.T.).

Shooting Gallery is widely available to rent or purchase online.

Fratelli Breaks (billiards short film)

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Uttering a sentiment that could melt the phenolic resin off a billiard ball, Alex Scigliano explained to me the impetus for his 2007 short film Fratelli Breaks. “We made this film because we want to make the greatest pool movie ever made some day.”

Scigliano, along with his older brother Marcus, co-wrote, co-directed, and co-starred in this 17-minute movie, while he was a student in Boston University’s College of Communication. Shot over 18 days in Boston and parts of New Jersey, the superbly filmed movie ultimately won the Best Film Award at the Sumner Redstone Film Festival and the Best Cinematography Award at the Boston International Film Festival.

The gritty story, which has no dialogue for the first 3 minutes, focuses on Carmine and Guy Bianco, two brothers (played by the Sciglianos) who play each other for $10,000 in nine-ball billiards on the anniversary of their father’s murder. Jumping in time between the brothers at their current age and the brothers at a much younger age learning the hustler’s trade from their father, it’s a story that feels a bit crammed in the space of 17 minutes, but could make for a fantastic full-length film. More on that later.

Interestingly, the origin of the story is based on truth. According to Scigliano, “When my mother went back to school to get her Master’s degree, she could no longer shepherd us to church and left the responsibilities to my father. Little did we know of his disdain for organized religion. Instead of taking us to church for two years, my father took us to a pool hall and taught us how to dead stroke. The ‘Cue Balls for Christ Ministry’ he called it. He taught us how to hustle. He taught us about life.”

That background is relevant for two reasons. The first is for the film’s authenticity. Half the film is shot in the Bunker, a Boston bar with a single pool table. The place is populated by guys with names like Jimmy Feathers, Mike the Arm, Nicky Sausage and Joey Bananas. And while those monikers aren’t real, “the Paisanos in the Bunker…they’re not actors,” Scigliano shared. “They’re real people and they really don’t fuck around.” The decision to shoot in black-and-white (a technique that equally benefited the billiards movie Chalk) also adds to the close-quartered realism.

The second reason is for the billiards cinematography (starting around 09:35). Scigliano told me that when he and his brother saw The Color of Money, “it changed our lives.” That’s no surprise when you watch the pool-playing. Similar to Martin Scorsese, Scigliano uses a lot of different filming techniques to capture the energy and beauty of billiards. The brothers are also damn fine players, so it doesn’t hurt to watch Alex make a five ball run in one continuous camera shot. And, again emulating their muse Scorsese, the pool-playing is anchored by some hard-rock, blues-pounding music from local Boston musicians Ernie and the Automatics, and James Montgomery and Johnny A.

In addition to winning some awards and being “the most fun he’s ever had,” Fratelli Breaks also caused Scigliano to “lose 20 pounds, almost fail out of school, and lose [his] job as a bartender,” according to a 2008 interview in The Phoenix . On the brighter side, it introduced the brothers to a commercial producer in New York City that landed them some gigs a few years later. And finally, it remains “the template of for the feature film we want to make.” More on that now.

Scigliano tells me that he is currently re-writing a feature-length adaptation of Fratelli Breaks. What will make the movie different than other billiards movies (and, more broadly, other sports movies) is the goal. “Sports movies usually focus on an outward goal of winning that is tied to an internal conflict – redemption. Ours is different. Winning is killing. It’s not simply a sports movie. It’s a true revenge film, where the goal is murder.”

In the full-length, the brothers will aim to avenge their father’s murder by finding his killer, O’Boy, and hustling him out of everything he has. Scigliano adds, “It will be set in the ‘60s, during the zeitgeist of the pool renaissance that followed the release of The Hustler. The tournament the boys must find and beat O’Boy at is based off the legendary Johnson City Hustler’s Jamboree in Little Egypt, Illinois. R.A. Dyer’s literature is a major influence…All the classic hustlers – Wimpy Lasseter, Jersey Red, Knoxville Bear, Cowboy Jimmy Moore, Boston Shorty, Tuscaloosa Squirrel, even the real life Minnesota Fats Rudolf Wanderone – will be present.”

So, watch Fratelli Breaks, and get a taste of what is hopefully to come in the future. In the interim, keep up with the Scigliano Brothers by checking out their YouTube page.

Battle of the Sexes in Billiards Movies

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Pool is not a man’s world. According to the National Sporting Goods Association, a full 40% of pool players are women in the US. In honoring Jeanette “The Black Widow” Lee into the Billiard Congress of America Hall of Fame this year, the BCA referred to Lee as “unquestionably the most recognizable contemporary pool player in the world.” But, when it comes to their depiction in billiards movies, the sexes couldn’t be more different.

Historically, billiards movies were movies about men, typically portrayed as cocky, brash hustlers, using their pool skills to be king of the mountain. The supporting women in these movies were cast as non-pool-playing arm-candy or play-it-straight foils to their intractable men. More recently, a number of billiards movies have cast women in the lead roles. And while the women possess skills equivalent to those of the men, they exhibit none of the braggadocio of their y-chromosome counterparts. Instead, they are portrayed as good citizens, trying to play it straight, or reluctant billiards players, who rely on their cue stick (and only if necessary) for the pursuit of more noble reasons.

Let’s start with the men of the Big Three.

In The Hustler (1961), “Fast Eddie” Felson, a small-time, fast-talking pool hustler, is out to prove that he is the best player in the world by beating the legendary Minnesota Fats. Eddie’s love interest, Sarah Packard, the sole woman in the movie, tries to convince Eddie to leave his “perverted, twisted, and crippled” world, but he’s too headstrong to quit. And we all know it doesn’t end so well for Sarah.

Twenty-five years later, The Color of Money (1986) introduces viewers to Vincent Lauria, a cocksure, undisciplined, small-time hustler with incredible skills and a “sledgehammer break.” He is managed by his girlfriend Carmen, but it’s really “Fast Eddie” Felson, reprising his role from The Hustler, who teaches him how to hustle significant sums of money. Brazen and big-headed to the core, Vincent ultimately dumps his own game to make the real money on side bets. In contrast to Sarah Packard, Carmen supports her man’s habits, but her primary form of influence is sexual manipulation.

Finally, in Poolhall Junkies (2001), there is Johnny Doyle, a gifted pool player, for whom hustling is so ingrained that he is literally unable to escape the lifestyle. He combines lies and deceit with his billiards prowess and silver-tongue to free his brother from jail, but more important, to prove he’s the best and capable of beating any professional player. Barely registering in the film is his girlfriend, Tara, who, unable to discourage his hustling, ultimately endorses it by finding him a stakehorse.

This pattern continues in other lesser-known billiards movies: Nick Casey and Billy Joe, the two hustlers who star in The Baltimore Bullet (1980). Billy Joe “The Cajun Kid” Stanley, the loudmouth hustler in The Baron and the Kid (1984). Billy the Kid, the cockney cocky snooker player, in Billy the Kid and the Green Baize Vampire (1987). The list goes on and on.

In comparison, billiards movies in which the lead is a woman have an entirely different narrative. I believe the oldest billiards movie with a female lead is the Japanese “pinky violence” movie Wandering Ginza Butterfly (1972). Nami, a young woman released from prison who was taught by her uncle to hustle pool at a young age, wants to bury her past by getting a hostess job in Ginza. But, when a local yakuza threatens to seize her uncle’s bar, she is left with no choice but to utilize her billiards skills (in a tense match of three-cushion billiards) to right an unfavorable situation. And when that doesn’t work, she resorts to all out sword massacre (!!). In this film, pool is a last resort, a necessary evil, just one step below all-out bloodshed.

Kiss Shot (1989) features Whoopi Goldberg as Sarah Collins, a single mother who loses her job and is at risk of losing her house if she can’t come up with $7500 in the next four months. Literally, to save her family, she starts hustling pool at a local billiards hall, and then competes in a tournament.

In the low-budget Up Against the 8 Ball (2004), Krista and Monique, two cash-strapped girls at a historically black college, want nothing more than to complete their undergraduate education. But, unable to come up with the necessary $10,000 of tuition and unwilling to drop out, they take their pool-hustling skills to Las Vegas to compete for a $50,000 prize. Pool then is a means to a noble end, namely, a diploma.

In Turn the River (2007), Kailey is an immensely talented billiards player who takes no joy in the sport. Initially, she hustles pool and poker for gas money; later, she reluctantly hustles a local shark into playing one-pocket and then nine-ball for $60,000. But Kailey is not looking for the big score. Rather, she’s looking for just enough money to rescue her 11-year old son from an abusive father and flee to Canada to start a new life. Turn the River is the story of an anti-hustler, the reluctant samurai, seemingly forced to play a role, but only to escape a fate.

Finally, the most recent addition to the canon is 9-Ball (2012), the story of Gail, who is left in the care of her creepy uncle after he father is murdered. The uncle, sensing great pool skills in his niece, turns her onto the life of hustling and uses her as a way to make money for himself. But, as Gail gets older, she aspires to break out of that lifestyle and join the APA to become a professional 9-ball champion. In 9-Ball hustling is an evil, a psychopathic trait, a nightmare that Gail can’t wake up from. For Gail, pool is not a last resort (like it is for Nami or Kailey) or a way to avoid economic hardship (like it is for Sarah, Krista and Monique), but a path to salvation, and specifically, a path to camaraderie, respect, and joy that comes from joining an amateur pool league.

Writers, directors, producers, lend me your ears! It’s time for some new billiards stories to be told. This is not intended to be a criticism of the aforementioned movies. Some of these films are fantastic; others are atrocious. But, this genre will benefit from some out-of-the-box thinking. Not every male pool player is a headstrong hustler. Not every female pool player has unduly suffered. Let’s not just break the rack. Let’s break the stereotype while we’re at it.

Poolhall Junkies

“Poolhall Junkies is a porno movie for billiards fiends.”

Alas, I can’t take credit for authoring that beautiful sentiment (it belongs to the staff writer Purple for Movie Magazine), but it’s a zinger of truth. From the opening scene, as the camera methodically, seductively explores the baize of the billiards table, the interior of the pocket, the smoothness of the rail cushion, the length of the cue, and even the symmetry of the rack, one feels they’ve entered a world of pool fetishism. It’s no wonder that this is the mise-en-scene of the 2003 billiards movie Poolhall Junkies and the home of its star, Johnny “Sidepocket Kid” Doyle, a pool player so good that “the cue was part of his arms, the balls had eyes, and the thing that made him so good was that he thought he could never miss.”

It’s also then no surprise that Doyle is played by Mars Callahan, the movie’s director and writer, and an incredible pool player in his own right. In making the film, Callahan clearly wanted to make a billiards movie. He used his own life growing up fatherless in Los Angeles, hustling and playing pool starting at the age of 12, to form the basis of the movie, though it would take him 10 years to get it to the silver screen.

The storyline for Poolhall Junkies is pretty simple (and often criticized for being a retread of better movies such as Rounders). Johnny is a teen billiards prodigy who aspires to be a pool professional. But, his “mentor” uncle Joe (the excellent Chazz Palminteri) has bigger plans to “educate” him and turn him into a pool hustler. Fifteen years later, when Johnny breaks from his mentor, he tries to start a new life away from pool-sharking. But, Joe, hell-bent on revenge, won’t let him leave, and sics his new protégé Brad (the head-scratchingly cast Rick Schroeder) on Johnny’s friends and family, creating for Johnny a world of debt and problems that can only be resolved in a – wait for it…you guessed it – 9-ball showdown.

Okay, so the plot is beyond predictable. Can we move on now? Let’s talk about the pool! The movie is a billiards bonanza of rapid-fire strokes, rail assist jumps, table-length draws, absurd masse shots, double-bank carom shots, with some of the most eye-popping shots performed by billiards legend Robert “Cotton” LeBlanc, who not only was a technical pool advisor for the film, but also makes a cameo in the film at the Olhausen $100,000 9-ball Shootout, along with trick-shot maestro Mike Massey (as St. Louis Louis).

But, Poolhall Junkies does not just rely on professionals to dazzle. To the contrary, the movie is notable for creating an aura of authenticity through its use of continuous wide-angle pool shots, taken not just by Callahan, but also by the other players in the movie. Perhaps, the most famous shot in the movie is the frozen cue-ball carom kick shot shown below that Johnny uses to hustle his girlfriend’s boss at a party.

In Poolhall Junkies, this shot, which immediately inspired thousands of audience members to try to recreate it at their local pool halls, is done – on the first take, no less – by Johnny’s partner and bank-roller Mike (the scene-stealing Christopher Walken). The shot is then repeated by Callahan…with one hand! (For a full explanation of the physics of this shot and others in the film, check out the article from Dr. David Alciatore in his series, “Billiards on the Big Screen.”)

Billiard movie aficionados will also note Callahan’s clear homage to The Color of Money in everything from the use of pool shot montages and the selection of recognizable pop songs to power the pool scenes (e.g., “Werewolves of London” in The Color of Money; “The Payback” and “Use Me” in Poolhall Junkies) to the overt Color of Money poster in the local pool hall. More subtle tributes include the use of a deafening crack of the break to signal a one-of-a-kind pool player, as well as Johnny’s pompadour and white-on-black HUSTLER t-shirt that are reminiscent of Vince’s (Tom Cruise) bouffant hairdo and white-on-black VINCE t-shirt.

And yet, as an ode to billiards, Poolhall Junkies carries with it a negative underbelly, namely the close equation of pool with hustling. While the movie opens with the line, “I don’t want to be a hustler. I want to be a professional,” it so romanticizes the pool-shark, with its short cons, sang-froid and hyper-masculine lifestyle, that it comes dangerously close to tainting the sport in the process.

As skilled as all the pool players are in the movie, they ultimately rely on deceit and even an old-fashioned ass-stomping to succeed. Johnny lands a mobile-home sales job by tricking the company owner into making a bet he can’t win. Another character wins a fast $200 by duping two guys in a drinking game. Johnny’s brother attempts to beat Brad by only playing him on a pool-table he rigged with a crooked leg. Brad, allegedly the 13^th ranked player in the US, must resort to a cheap “four balls off the table” hustle to win money in 8-ball. And, the most egregious example of all, in the final $100,000 showdown between Johnny and Brad, Johnny only wins because he cons his opponent into letting him take the otherwise “impossible” shot.

In this respect, it’s interesting to compare Poolhall Junkies to Anthony Palma’s 2012 movie 9-Ball. Both movies start with a pool prodigy who wants to pursue the professional path, but is held back by a manipulative uncle intent on exploiting their skills for financial gain. In 9-Ball, league play is the path to nirvana, and the billiards professionals are portrayed as angelic messengers to aid in that pursuit. On the contrary, in Poolhall Junkies, the professionals lie, intimidate, and even physically attack, and hustling, as evil as it may be, is the ultimate magnet and the only way to win over the girl, free the brother, and take the $100,000 pot.

Poolhall Junkies is widely available to rent or watch online or on DVD.

9-Ball (billiards movie)

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Though 12 different billiards movies have been released since Poolhall Junkies in 2003 (Don’t believe me? Check my list.), the only one that really catalyzed the billiards community with anticipation and passion was the most recent one, the 2012 billiards movie 9-Ball, written and directed by Tony Palma.

It wasn’t just that the film starred Women’s Professional Billiard Association (WPBA) pool professional Jennifer “9mm” Barretta as the lead, or that Allison “The Dutchess of Doom” Fisher and Jeanette “Black Widow” Lee, perhaps the two most famous women in billiards, were going to appear in the movie. It wasn’t even that the American Poolplayers Association (APA), the world’s largest pool league, was a sponsor of the movie (though it significantly helped that the APA marketed the movie to its 265,000 members). It was that the movie sought to show pool as a professional sport. As Palma told me, “I wanted to take the essence of pool out of the smoky backroom bar scene and shine a bright spotlight on it…I wanted to focus on one woman’s dream of becoming a professional pool player.”

This proven, well-worn theme of an aspiring athlete overcoming obstacles to pursue a dream is so recognizable in cinema, from Rocky to Rudy, from Hoosiers to Hoop Dreams, yet it had never been done in billiards, a sport that is too often derided as a barroom game with professional players too often caricatured as hustlers. (Yes, the movie The Hustler likely contributed more to the popularity of pool than any other single event, but it also did reinforce the stereotype.)

Under this lens, it’s clear why the APA sponsored the film, why the Billiard Congress of America (BCA) endorsed the film, and why interest and enthusiasm abounded from all across the globe, years before the film even began shooting. Similarly, it’s why individuals like Allison Fisher and Jeanette Lee lent their name. According to Palma, “[Jeanette] felt the movie would be beneficial to pool…She felt it would get people interested in playing in an organized league…she felt it told a very positive story about pool and about women in pool.”

For those not familiar with the movie, it follows the life of a young Gail (played by Barretta), who is left in the care of her creepy uncle Joey (played by Kurt Hanover), after her father is murdered. The uncle, sensing great pool skills in his niece, turns her onto the life of hustling and uses her as a way to make money for himself. But, as Gail gets older, she aspires to break out of that lifestyle and join the APA to become a professional 9-ball champion.

(Interestingly, Poolhall Junkies also is about a skilled billiards player who dreams of becoming a professional, but has his plans sabotaged by his mentor/trainer, also named Joe. Of course, that’s where the similarities between the two movies stop, and as we all know, Poolhall Junkies ultimately presented a far less positive portrayal of league play/players.)

9-Ball took Palma almost 5 years and a budget just under $1 million to make, such was the challenge of “independently writing, casting, directing and producing a dramatic, contemporary, character-driven feature film.” Financing was a big issue. Fortunately, Palma produced a trailer from some of the original scenes that generated excitement and ultimately landed him an angel investor.

With all the anticipating mounting for so long, it is not a surprise that when the movie was finally released in November, 2012, reviews ran the gamut (as you can clearly see on IMDB or Amazon). Regardless of whether the movie is a little too “feel-good,” my primary criticism of 9-Ball is the sheer lack of pool. In my interviews with both Palma and Barretta, they dismissed this criticism. “It’s really a character-driven story more than it’s a story about pool,” said Palma. Barretta also said, “It’s not a movie about pool, it’s a movie with pool in it. I don’t think a montage of fancy shots will help tell the story. Nobody is impressed by them.” But, given the movie’s noble purpose, I wish the movie had emphasized and shown in much greater detail the beauty, skill and art of an exceptional game of billiards. Of course, Martin Scorsese did this exceptionally in The Color of Money, as did Mars Callahan in Poolhall Junkies. But, even a little known film like Carambola (2005) figured out how to weave in incredible examples of three-cushion shots. In 9-Ball, Barretta’s final rail shot is a stunner, but it’s a rare treat.

On the other hand, I think too many of the movie’s harshest critics did not understand Palma’s underlying objective to “shine a bright spotlight on pool…and to talk about a sport that is deserving of being in the Olympics.” Measured against this goal, I give the movie high marks, and I join the thousands of others around the world who, according to Palma, have sent emails and Facebook messages saying how much they appreciated the portrayal of billiards in 9-Ball and its obvious respect and love for the sport.

To conclude, I want to share the sentiments expressed by Michael J’s Cues in Toledo, Ohio. “Overall in my opinion this movie promotes the game and that is great for the business of billiards…An honest reflection of the game as it stands today!! The game of billiards needs to be shown more as a game the whole family can enjoy.”.

To watch or purchase 9-Ball, go to Tubi or Roku. You can also join the 9-Ball community on its Facebook page or follow 9-Ball on Twitter (@9Ballthemovie).

Special congratulations to Jeanette Lee, who appeared in 9-Ball, for her induction just days ago into the Billiard Congress of America Hall of Fame.

[Wanted!] The Player

Author’s Note: With the discovery and April 2024 release of “The Player,” 53 years after it’s initial limited showing, please also read my follow-up post to the post below.

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Among the world’s greatest unresolved mysteries is the identity of the Zodiac serial killer, the location of the Bermuda Triangle, and the translation of the Voynich Manuscript. But, equally high up on that list is another perplexing mystery: Whatever happened to the 1971 billiards movie The Player?

For a while, the pursuit of this movie was a periodic topic of discussion within the most popular billiards forums, such as AZ Billiards and Inside Pool Magazine. Often, the initial thread began with the question, “Has anyone heard of this movie The Player? I’d really love to see it.” This was then followed by a bandwagon of “Me too!” or “I’m also interested” responses, before someone dropped the hammer and shared that he’s already been searching for this movie for some time and has run into nothing but dead ends.

What is the fascination with The Player? Why does this long-lost billiards movie produce such passion, craving and rumors, whereas other “missing” billiards movies, such as Lemon Tree Billiards House (1996) or Running Out (2001) evoke nary a whisper? Finally, does it still exist?

Here’s what we know: The Player, was directed and written by Thomas DeMartini, a man with no prior or posterior film credits. The main cast included Jerry Como, Rae Phillips, and Carey Wilmot, all people who again had no previous or subsequent acting experience.

But, the remaining two cast members, who played themselves in the film, were a completely different story. First, there was “Gentleman Jack” Colavita, a Tri-State straight pool champion. And then there was Rudolf Wanderone Jr., aka “Minnesota Fats,” one of the most famous pocket billiards players of that era. Though he never won a major tournament, he gained great fame in the early ‘60s by claiming the Minnesota Fats character in The Hustler was based on him. And he then parlayed that fame into a series of book deals and television appearances, including the Celebrity Billiards with Minnesota Fats game show and a guest spot on The Tonight Show Starring Johnny Carson.

While there have been many billiards movies that star pool professionals (e.g., Jennifer Barretta in 9-Ball; Jimmy White in The Legend of the Dragon; Efren Reyes in Pakners; Marcello Lotti in The Pool Hustlers) The Player is the only movie that starred Minnesota Fats. Even juicier, it billed him as “The greatest pool hustler in the greatest pool movie.”

According to the Temple of Schlock’s “Endangered List,” the movie was about a down-and-out professional pool player who, struggling with his relationship, hits the road, resorts to hustling, and makes a series of bad decisions (including challenging Minnesota Fats) that only worsen his situation.

Beyond the appeal of Fats and the hustler storyline, the excitement about this billiards movie has grown because of the confusion around its release. For example, the Turner Classics Movie website mistakenly says it was released in 1972. And, within online forums, some people incorrectly argue the movie was never actually released. But, from the various first-hand testimonies I’ve read, it’s clear the movie showed at a few private screenings in 1971 and 1972 in the Southeast at theaters owned by the family of the movie’s producer, George Ogden, though it never had a mainstream release.

But here is where the story turns tragic, as it appears this billiards movie will never become viewable again, based on the investigatory work done by Craig Rittel, owner of Full Splice Billiards in Lakewood, Washington. He has done considerable research, talking to industry professionals and tracking down people involved with the film. According to his online posts (and some of my own research), we know:

There were management problems, presumably within International Cinema, the movie’s production company, that led to the film getting shelved. International Cinema no longer exists. It was merged with RSL Entertainment in 1985 to form Alliance Entertainment, now the largest wholesale distributor of home entertainment audio and video software in the United States.
Producer George Ogden was believed to have the original film. He passed away years ago, and the only thing found among his estate related to The Player was a framed poster.
The Ogden Theater in Baton Rouge, Louisiana, which privately screened The Player, closed in 1985.
There is no information that can be learned from the main cast and crew members. The director Thomas DeMartini is deceased (date unknown), Minnesota Fats died in 1996, and “Gentleman Jack” Colavita died in 2005. In fact, Colavita’s son, Jack, has also unsuccessfully tried to find the film.
Even the Jackson Mall Cinema, another of the few venues that did a private screening of the film, is no longer around. It is now a medical center.

So, that’s where the story ends…or does it? If there is a lesson to be learned from the 2012 smash documentary Searching for Sugarman about the hunt to find the singer Rodriguez, or the 2002 documentary Stone Reader, which details one person’s quest to find the author of a well-received novel from 30 years ago, it’s that maybe, just maybe, with a lot of sleuthing and a lot of luck, something seemingly gone forever will show up again one day. We can only hope.

[Periodically, I will publish posts on movies that I have been unable to find and watch. These are part of my “Wanted!” series. If you have any information about a “Wanted!” movie, please contact me. I will be most grateful.]

Jennifer Barretta: A League of Her Own

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Here’s a pop quiz. Name a professional athlete who appeared in a movie.

There have been a considerable number over the years, ranging from the highly indelible (Kareem Abdul-Jabbar as co-pilot Roger Murdock in Airplane) to the highly forgettable (Shaquille O’Neal as the title genie in Kazaam). And the list goes on… Jim Brown, Carl Weathers, Ray Allen, OJ Simpson, Michael Irvin, Jason Lee, Howie Long, Michael Jordan…

OK, now name a professional female athlete who appeared in a movie.

Wow. That’s much tougher. Well, there’s the former mixed martial artist Gina Carano from Haywire. And, there’s Esther Williams, the competitive swimmer who starred in films in the ‘40s and ‘50s. Umm…

Fortunately, also at the top of that short list belongs Women’s Professional Billiard Association (WPBA) tour professional Jennifer Barretta, the star of last year’s highly anticipated movie 9-Ball. She not only appeared in the movie, but headlined it. And, she did it while continuing to play professional pool, rather than the more common path of retiring to pursue an acting career. This puts her in a very small pantheon of athletes, male or female. (Interestingly, she is joined by one other professional billiards player, Efren Reyes, who starred in Pakners, a 2003 movie from the Philippines.)

The irony is that Barretta’s starring role almost never happened.

A week ago, right before she departed for the 9 Ball Women’s World Championships in Shenyang, China as one of only 4 Americans representing the USA, I had the distinct pleasure to interview Barretta about her experience filming and starring as Gail in 9-Ball.

“[Director] Tony [Palma] had asked [professional billiards player] Karen Corr to do a walk-on. He then asked her if she knew other players. She thought of me. So I came expecting to do a walk-on. But, when I got there, Tony said he wanted me to read for the role of Gail. Like now…And the next thing I knew, I had gotten the lead role as Gail.”

As excited as Barretta was to have been chosen, she was also skeptical. “Not everyone can get a pool movie made,” she said. In fact, that skepticism was initially well-placed, as it was years between the audition and the actual filming. “I had actually given up on the role.”

It was to Barretta’s great surprise then when she got a call from Palma years later saying he was proceeding with the movie. “I thought I was going to show up in Maryland and he would maybe have a handy-cam. But, I got there, and there was set design, grips, gaffers…it was a real movie.”

For those not familiar with the movie, it follows the life of a young Gail, who is left in the care of her creepy uncle, after her father is murdered. The uncle, sensing great pool skills in his niece, turns her onto the life of hustling and uses her as a way to make money for himself. But, as Gail gets older, she aspires to break out of that lifestyle and join the American Poolplayers Association (APA) to become a professional 9-ball champion.

For Barretta, playing a pool-player was not the challenge. In fact, as someone who had started in the APA, Gail’s quest was familiar. “The real challenge was playing someone who had been so emotionally abused…It was exciting to act and be somebody so different. I got to test the limits of what I was capable of.”

The real challenge in playing Gail (or simply committing to star in the film) was the potential disruption to her own practice and tournament schedule. In 2012, Barretta was the 7^th-highest ranked player on the WPBA tour. As one would imagine, that level of excellence requires constant practice. For Barretta, it’s typically 5-8 hours a day, including honing particular self-defined weaknesses each year. “I study pool like an education,” she says. “I set goals. Every year, I pick one thing. This year, it’s my break. I’ll do just breaks for 2 hours straight. I have a break trainer.”

Fortunately, when it came time to shoot scenes, director Palma was very sensitive to Barretta’s schedule. “Before he booked shots, he would make sure I was free. We would be away for 2 weeks tops over the 2 years. Otherwise, when I’m home, I practice.” Of course, that’s not to say the shooting never interfered. “There was one time when we filmed and then I got home and went to Vegas the very next day [for a tournament]. But, it’s worth it…how many times in a life can you do a movie?”

Critical reaction to the movie was mixed, but for Barretta, the film has had a tremendous personal impact, including among her peers. “I was recently out in Vegas for the biggest amateur and professional pool event. I could feel the difference. I was treated like a movie star. So many people came up to me. I had professionals come up to me, asking me to sign a copy of their movie. I think a lot people [in the billiards community] have seen it.”

Carlos Luna Photography

Whether the movie has had a broader impact on the popularity of billiards, similar to what occurred after The Hustler and The Color of Money were released, is harder to gauge. “It’s tough to say if it had an impact. Either way, people are playing, and it’s available in millions of households. It’s like when Poolhall Junkies came out. This is a movie available worldwide with a touch of a button.”

For Barretta, it was an incredible experience that has gotten her more interested in acting. Fans should expect to see her in a couple of small roles in some upcoming films, and she’s more than eager to reprise her role as Gail if Palma films a sequel. But, otherwise, she won’t be trading in her cue stick for the big screen any time soon. “It’s not like I’m going to run out and get an agent.”

To learn more about Jennifer Barretta, visit her website. To learn more about the movie 9-Ball, read this blog for my upcoming review in 2 weeks that includes an interview with the director Tony Palma. You can also like the movie on Facebook.

A version of this article will also appear later this week on About.com in the highly engaging Pool and Billiards section.

Ballbreakers (billiards TV game show)

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For a fleeting moment in July 2005, members of the billiards community were aroused by a new billiards TV show – specifically, a billiards game show featuring both amateur “pool sharks” and celebrities – that debuted on the Game Show Network.

Produced by Sokolobl Entertainment, the show Ballbreakers (originally titled No Limit 9 Ball) consisted of contestants competing in 9-ball for a chance to win $20,000. Giving the show its billiards imprimatur was Ewa Mataya Laurance (“The Striking Viking”), who provided commentary on game play and expert advice on shots if asked by the players, as well as Mars Callahan, the director of Poolhall Junkies, who was the show’s co-executive producer. Adding to the show’s popular appeal was Adrianne Curry, winner of the first season of America’s Top Model, who served as the series’ “Rack Girl.”

With its cover story in the July 2005 issue of Pool & Billiard Magazine, the show sparked a brief surge of debate about its merit and role in improving the popular image of pool. Rob Lobl, one of the show’s creators, said, “Pool is coolest in the movies…and the lamest thing on TV.” His partner, Sam Sokolow, added, “With the right set, the right format, we knew we could come up with the coolest pool show ever…the sky is the limit.”

But, among billiards players, the reactions were more polarizing, even before it premiered. One person posting in the Billiards Digest Forum said, “This program will probably bring more interest to the game and more pool players.” While another person countered by saying, “Great. Another dumbass show to lower the bar…whatever happened to elegance and the beauty of this game to those who really can play.”

In hindsight, Ballbreakers had very little impact on billiards. This was, in a large part, because the show wasn’t particularly good, and it was cancelled in 2006. Why, you might ask? Let’s start with the premise: watching amateur players compete in 9-ball is only interesting to watch on TV if the billiards-playing is decent. But, the contestants never ran more than a few shots and often missed easy ones. Similar to hearing bad jokes told at an amateur comedy show, some of the playing became downright cringe-worthy.

This “lousy pool” dynamic in turn made the Striking Viking’s job as commentator kind of a joke, too. Laurance may be an ESPN commentator, a member of the Billiard Congress of America Hall of Fame, and a winner of all the major events on the WPBA tour, but even she couldn’t breathe much excitement into average playing and positioning.

The addition of Sal Masekela (X Games) as host also did little to dial up the engagement factor, especially because he was asked to treat the contestants as caricatures (e.g., the gay player “Cupcake,” the big player “Beefcake, etc.). I did, however, enjoy his catchphrase, “Good luck. Break some balls.”

A group of b- and c-list celebrities, including Tia Carrere (Wayne’s World), Lou Diamond Phillips (La Bamba) and Noah Wyle (ER) also joined two episodes of the series to boost ratings, but had little long-term impact. However, at least one of those celebrities – Dorian Harewood – gets an honorary shout-out from me, for he also appeared 6 years earlier in the pool movie Kiss Shot, the topic of a future blog post.

I’ve included above one full episode of Ballbreakers, divided into four segments. Watch them all, but I encourage you to check out the most novel part of the episode, which was Laurance’s introduction of the game “Jawbreakers” (Segment 2, 7:38) to get table control in the 2^nd round. It’s an interesting game designed to test how fast the players can pocket the 6 balls arranged next to the 6 pockets on the table. But, like the show itself, it quickly falls apart.

The Baron and the Kid

As far back as 1906, there have been movies based on songs, such as the silent short Waiting at the Church, based on the music hall song of the same name by Vesta Victoria. Over the years, the genre has expanded to include more well-known movies, such as Alice’s Restaurant, Yellow Submarine, The Night the Lights Went Out in Georgia, and Born in East L.A.

To this atypical list, we must also add the 1984 made-for-TV-movie, The Baron and the Kid, directed by Gary Nelson and starring Johnny Cash as William “The Baron” Addington.

Based on Cash’s 1980 song “The Baron,” the title track of his 1981 Columbia Records album of the same name, The Baron and the Kid was derided by pundits as a feeble attempt to follow in the footprint of Kenny Rogers’ The Gambler (1980) – another movie based on a song – and rope in those same fans. (There is something inherently in the story-driven DNA of C&W songs that lends themselves to movie translation. See also Convoy; Ode to Billy Joe; and Take This Job and Shove It.)

In any event, this criticism is not entirely unfounded. The Baron and the Kid follows the basic sentimental father-son drama as The Gambler in that it casts Cash as an ex-pool hustler determined to rectify the wrongs of his violent, alcoholic past life by establishing a relationship with his son, Billy Joe “The Cajun Kid” Stanley (Greg Webb), who his ex-wife Dee Dee Stanley (June Carter Cash) had kept a secret for 18 years.

Wish I had a known ya
When you were a little younger
Around me you might have learned
a thing or two
If I had known you longer
You might be a little stronger
And maybe you’d shoot straighter
Then you doooo

Not surprisingly, that reunion doesn’t go swimmingly well at first, especially since the Cajun Kid, now a successful small Southern town hustler, has no interest changing his cue stick ways and listening to the Man in Black.

Apparently, when there is “nothing to lose, everything to win,” the only way to forge a father-son bond and remedy almost two decades of absence is to bond over billiards on the road and get “in the zone…a combination of what experience tells you to do, the ego wants you to do, and the nerves will let you do.” This includes competing against Dr. Pockett (played by the perfectly named Earl Poole Ball, Johnny Cash’s pianist of 20 years) in a double-elimination tournament; playing a “10-game freeze out” against the menacing Frosty (memorably and most ironically played by Richard Roundtree a.k.a. “Shaft”) and his posse of rednecks; and trading shots with trick-shot legend Mike Massey, who makes a cameo as a rival 9-ball player.

Regardless of the predictable plot, the fact is any billiards movie starring Johnny Cash gets a thumbs-up from me. And, without question, this is a billiards movie. It opens with an incredible series of pool shots performed by Cash (reflecting the brilliance of technical adviser Mike Massey). There are then frequent pool games and demonstrations of pool prowess, including the introduction of Tracy Pollan (future spouse of Michael J. Fox) as pool-shooting Southern belle Mary Beth Phillips. And, of course, like so many other billiards movies (e.g., The Color of Money; Up Against the 8 Ball; Kiss Shot), there is the culminating final tournament, in this case, the National Pocket Billiards 9-Ball Championship

And while the movie is rather hackneyed, it does introduce one aspect of pool that I’ve not seen in other movies – namely, the practice of ”jarring,” in which a player has his opponent’s drink spiked with drugs (e.g., amphetamine) to make him overconfident so that he’ll undertake impossible shots. I couldn’t turn up much research on the practice, though a handful of message boards confirmed that “jarring” was done through the 1980s. Of course, today in sports, the issue is less about drugging one’s opponent than it is about self-doping…yes, even in billiards. Just ask German billiards champ Axel Buescher, who was stripped of his national carom billiards title in 2008.

The Baron and the Kid is widely available to rent or buy online.

Additional information of interest:

Twilight Zone: A Game of Pool (Billiards TV Remake)

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This post is in honor of the Canadian actor Maury Chaykin, who played James “Fats” Brown in this Twilight Zone episode. On Saturday, it will have been 3 years since his passing.

A couple of weeks ago, I reviewed the original “A Game of Pool” episode from The Twilight Zone that aired in 1961. It is arguably one of the best billiards TV episodes ever.

In 1989, that episode was remade as part of CBS’ short-lived, three-season revival of The Twilight Zone. The remake of “A Game of Pool,” now in color, casts Esai Morales as local pool shark Jesse Cardiff (originally played by Jack Klugman) and Maury Chaykin as the deceased James “Fats” Brown (originally played by Jonathan Winters). For the most part, it’s the same story about a life/death bet to be the best pool player. But, it can’t hold a candle to the original episode.

http://youtu.be/iXDT6O0hLr0

For starters, Morales and Chaykin were not well-cast. Morales, an award-winning actor best known for his role on NYPD Blue, is too anxious and overblown in his portrayal of Cardiff. And Chaykin, who fans fondly remember as the armchair detective Nero Wolfe, lacks the gentlemanly cool and confidence that Winters nailed. Instead, he seems just pugnacious.

The switch from black-and-white to color also does not help. The bar room atmosphere no longer feels so chilling and claustrophobic. Instead, it feels ordinary, like a TV studio set. (Check out this great article on the visual treatment of the original Twilight Zone.) Similarly, the addition of the jazz horn as background music fails to create tension and rather seems contrived.

The pool-playing is also notably different, and not for the better. Both Morales and Chaykin look downright uncomfortable holding a cue. It’s hard to imagine Cardiff being “the best” the way Morales holds and jerks the cue (see 10:39). It’s also surprising that both players rely entirely on an open bridge, generally preferred by less experienced players.

Another subtle change in the pool-playing is the game of choice. In the original, they opt to play 14.1 continuous pool (i.e., straight pool). In the remake, they play rotation pool, a game largely popular in Asian countries. The objective of rotation pool is to score the most points by pocketing higher-numbered balls than one’s opponent. However, like 9-ball, the cue must always first strike the lowest-numbered ball on the table.

Finally, the major difference that most people note is the choice of ending. While I won’t give it away entirely, let’s just say it’s not the same player who wins in the original. Interestingly, the remake actually reflects the author George Clayton Johnson’s original script. Is it a better ending? That’s a coin toss to me. Is it a better billiards TV episode? Not even close.

For additional commentary, check out Postcards from the Zone.

8 Ball on the Silver Screen

Every Billiards Movie, TV Show, Short Film and Web Series

Tag Archives: 9-ball

Shooting Gallery

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Fratelli Breaks (billiards short film)

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Battle of the Sexes in Billiards Movies

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Poolhall Junkies

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9-Ball (billiards movie)

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[Wanted!] The Player

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Jennifer Barretta: A League of Her Own

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Ballbreakers (billiards TV game show)

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The Baron and the Kid

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Twilight Zone: A Game of Pool (Billiards TV Remake)

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