 Film and theatre historian Ethan Mordden has identified The Hustler as one of a handful of films from the early 1960s that re @-@ defined the relationship of films to their audiences . This new relationship , he writes , is " one of challenge rather than flattery , of doubt rather than certainty . " No film of the 1950s , Mordden asserts , " took such a brutal , clear look at the ego @-@ affirmation of the one @-@ on @-@ one contest , at the inhumanity of the winner or the castrated vulnerability of the loser . " Although some have suggested the resemblance of this film to classic film noir , Mordden rejects the comparison based on Rossen 's ultra @-@ realistic style , also noting that the film lacks noir 's " Treacherous Woman or its relish in discovering crime among the bourgeoisie , hungry bank clerks and lusty wives . " Mordden does note that while Fast Eddie " has a slight fifties ring " , the character " makes a decisive break with the extraordinarily feeling tough guys of the ' rebel ' era ... [ b ] ut he does end up seeking out his emotions " and telling Bert that he is a loser because he 's dead inside . 
 Film and theatre historian Ethan Mordden <a href='been_done' title='1'><mark>has</mark></a> identified The Hustler as one of a handful of films from the early 1960s <a href='null_relcl' title='2'><mark>that</mark></a><a href='uninflect' title='3'><mark>re</mark></a> @-@ defined the relationship of films to their audiences . This new relationship , he <a href='uninflect' title='4'><mark>writes</mark></a> , <a href='drop_aux' title='5'><mark>is</mark></a>" one of challenge rather than flattery , of doubt rather than certainty . " No film of the 1950s , Mordden <a href='uninflect' title='6'><mark>asserts</mark></a> , " took such a brutal , clear look at the ego @-@ affirmation of the one @-@ on @-@ one contest , at the inhumanity of the winner or the castrated vulnerability of the loser . " Although some <a href='been_done' title='7'><mark>have</mark></a> suggested the resemblance of this film to classic film noir , Mordden <a href='uninflect' title='8'><mark>rejects</mark></a> the comparison based on Rossen <a href='null_genetive' title='9'><mark>'s</mark></a>ultra @-@ realistic style , also noting that the film <a href='uninflect' title='10'><mark>lacks</mark></a> noir <a href='null_genetive' title='11'><mark>'s</mark></a>" Treacherous Woman or its relish in discovering crime among the bourgeoisie , hungry bank clerks and lusty wives . " Mordden <a href='uninflect' title='12'><mark>does</mark></a> note that while Fast Eddie " <a href='got' title='13'><mark>has</mark></a> a slight fifties ring " , the character " <a href='uninflect' title='14'><mark>makes</mark></a> a decisive break with the extraordinarily feeling tough guys of the ' rebel ' era ... [ b ] ut he <a href='uninflect' title='15'><mark>does</mark></a> end up seeking out his emotions " and telling Bert that he is a loser because he 's dead inside . 
Film and theatre historian bj Mordden done identified The Hustler as one of a handful of films from da early 1960s red @-@ defined tdarelationship of films to their audiences . dis new relationship , he write , " one of challenge rather den flattery , of doubt rather tdencertainty . " No film of thda950s , Mordden assert , " took such a brutal , clear look at thedao @-@ affirmation of the one @-@ on @-@ one contest , at the daumanity of the winner or the cdarated vulnerability of the loser . " Although sum done suggested the resemblance of tdisfilm to classic film noir , Mordden reject the comparison based on Rossen  ultra @-@ realistic style , also noting dat the fidalack noir  " Treacherous Woman or its relish in discovering crime among the bourgeoisie , hungry bank clerks and lusty wives . " Mordden do note tdatwhile Fast Eddie " got a slight fifties ring " , the character " make a decisive break with the extraordinarily feeling tough guys of the ' rebel ' era ... [ b ] ut he do end up seeking outt his emotions " and tellin Bert thdate is a loser b/c he 's dead inside .