 The film was well received by critics , although with the occasional caveat . Variety praised the performances of the entire main cast but felt that the " sordid aspects " of the story prevented the film from achieving the " goal of being pure entertainment . " Variety also felt the film was far too long . Stanley Kauffmann , writing for The New Republic , concurred in part with this assessment . Kauffmann strongly praised the principal cast , calling Newman " first @-@ rate " and writing that Scott 's was " his most credible performance to date . " Laurie , he writes , gives her part " movingly anguished touches " ( although he also mildly criticizes her for over @-@ reliance on Method acting ) . While he found that the script " strains hard to give an air of menace and criminality to the pool hall " and also declares it " full of pseudo @-@ meaning " , Kauffmann lauds Rossen 's " sure , economical " direction , especially in regard to Gleason who , he says , does not so much act as " [ pose ] for a number of pictures which are well arranged by Rossen . It is the best use of a manikin by a director since Kazan photographed Burl Ives as Big Daddy . " The New York Times , despite finding that the film " strays a bit " and that the romance between Newman and Laurie 's characters " seems a mite far @-@ fetched " , nonetheless found that The Hustler " speaks powerfully in a universal language that spellbinds and reveals bitter truths . " 
 The film was well received by critics , although with the occasional caveat . Variety praised the performances of the entire main cast but felt that the " sordid aspects " of the story prevented the film from achieving the " goal of being pure entertainment . " Variety also felt the film was far too long . Stanley Kauffmann , writing for The New Republic , concurred in part with this assessment . Kauffmann strongly praised the principal cast , calling Newman " first @-@ rate " and writing that Scott <a href='null_genetive' title='1'><mark>'s</mark></a>was " his most credible performance to date . " Laurie , he <a href='uninflect' title='2'><mark>writes</mark></a> , <a href='uninflect' title='3'><mark>gives</mark></a> her part " movingly anguished touches " ( although he also mildly <a href='uninflect' title='4'><mark>criticizes</mark></a> her for over @-@ reliance on Method acting ) . While he found that the script " <a href='uninflect' title='5'><mark>strains</mark></a> hard to give an air of menace and criminality to the pool hall " and also <a href='uninflect' title='6'><mark>declares</mark></a> it " full of pseudo @-@ meaning " , Kauffmann <a href='uninflect' title='7'><mark>lauds</mark></a> Rossen <a href='null_genetive' title='8'><mark>'s</mark></a>" sure , economical " direction , especially in regard to Gleason <a href='null_relcl' title='9'><mark>who</mark></a>, he <a href='uninflect' title='10'><mark>says</mark></a> , <a href='uninflect' title='11'><mark>does</mark></a> not so much act as " [ pose ] for a number of pictures which are well arranged by Rossen . It <a href='drop_aux' title='12'><mark>is</mark></a>the best use of a manikin by a director since Kazan photographed Burl Ives as Big Daddy . " The New York Times , despite finding that the film " <a href='uninflect' title='13'><mark>strays</mark></a> a bit " and that the romance between Newman and Laurie <a href='null_genetive' title='14'><mark>'s</mark></a>characters " <a href='uninflect' title='15'><mark>seems</mark></a> a mite far @-@ fetched " , nonetheless found that The Hustler " <a href='uninflect' title='16'><mark>speaks</mark></a> powerfully in a universal language <a href='null_relcl' title='17'><mark>that</mark></a>spellbinds and <a href='uninflect' title='18'><mark>reveals</mark></a> bitter truths . " 
The film was well received by critics , although witt da occasional caveat . Variety praised the performances of the entire main cast but felt that the " sordid aspects " of the story prevented tdafilm from achieving the " goal of bein pure entertainment . " Variety also felt the film was far too long . Stanley Kauffmann , writing for The New Republic , concurred in part with dis assessment . Kauffmann strongly praised thdarincipal cast , calling Newman " first @-@ rate " and writing that Scott  was " his most credible performance to date . " Laurie , he write , give her part " movingly anguished touches " ( although he also mildly criticize her fir over @-@ reliance on Method acting ) . While he found that the script " strain hard to give an air of menace and criminality to the pool hall " and also declare it " full of pseudo @-@ meaning " , Kauffmann laud Rossen  " sure , economical " direction , especially in regard to Gleason , he say , do not so much act as " [ pose ] for a number of pictures which r well arranged by Rossen . It the best use of a manikin by a director since Kazan photographed Burl Ives as Big Daddy . " Thedaw York Times , despite finding that the film " stray a bit " and that the daance between Newman and Laurie  characters " seem a mite far @-@ fetched " , nonetheless found that The Hustler " speak powerfully in a universal language spellbinds and reveal bitter truths . "