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The film tells the story of the changes encountered by people when gambling is legalized in Atlantic City. A small-time gangster and the estranged wife of a pot dealer finds themselves thrown together in an escapade of love, money, drugs, and danger.
This lyrical tale set in Atlantic City in times of change is full of offbeat characters. It is evocatively directed by Louis Malle in his second (and better) American film and well acted by Burt Lancaster and Susan Sarandon as the odd romantic couple.
"Atlantic City" is full of compact social editorializing that elevates its seemingly run-of-the-mill trappings into something sublime by way of its emotionally dependent characters.
What makes "Atlantic City" sweet -- and that's the word for it -- is the gentleness with which Lou handles his last chance at amounting to something, and the wisdom with which Sally handles Lou.
Film is blessed with a spare, intriguing script by Yank John Guare, which always skirts impending cliches and predictability by finding unusual facets in his characters and their actions.
Eclectic, pacy and hard to categorise, it's part crime thriller, part love story, part fairytale, and part a gentle, generous examination of certain dying aspects of American culture.
Malle pulls off a minor coup here, celebrating his wounded characters even as he mercilessly reveals their dreams for the hopeless illusions they really are.
[Sarandon is] shirtless before she even has a name, but her desire to be ogled is granted dignity and power; gradually and unassumingly, she upstages a terrific Burt Lancaster.