Duke is a journalist sent to cover a motorcycle race in Vegas and – though being entirely intoxicated – possesses an impassive voice-over that helps bring some measure of calm to his unsettled character. God help you. But you don’t mind that”. For instance, H.I. Still, it was also a pale imitation of DRS. With Herr’s own experiences in the Vietnam setting, his powerfully blunt writing brings wit and compassion to a character that would otherwise seem nonsensical. The Hustle is a remake of Dirty Rotten Scoundrels. Still, McDowell’s voice-over is chiefly creditable for how it daringly manages to make us feel compassion for a character that causes most of the film’s atrocities. Furthermore, we understand from the beginning why Willard carries the narration: “There was no way to tell his story [Kurtz’s] without telling my own. Starring Rebel Wilson, Anne Hathaway, Tim Blake Nelson, Alex Sharp, Ingrid Oliver, and Emma Davies. The film raises philosophical questions surrounding memory and self, as the protagonist’s condition makes it impossible to use memory to resolve the mystery, hence he continually asks himself who he is and where he’s going. Wh Silliness is the watchword. His voice-over significantly enriches the film’s narrative, particularly for setting the tone and explaining the situation surrounding the complex family of geniuses that the Tenenbaums are, such as informing the viewer from the start: “he [Royal Tenenbaum] and his wife had three children, and then they separated”. “We were somewhere around Barstow, on the edge of the desert, when the drugs began to take hold.” Johnny Depp’s opening line in voice-over of Fear and Loathing In Las Vegas announces straight on the film’s psychedelic aura and the wild exhilaration of Depp’s character, Raoul Duke, who acts as an alter ego to Hunter S. Thompson, the author of the original book the film is based upon. But Kaufman became doubtful of how to best alter this unconventional storyline into a script, and encountered arduous writer’s block. His voice-over is absolutely crucial to carry the film’s development and sometimes add character insights or mysterious revelations, like suggestively commenting after having said the latter quote that Royal and his wife “were never legally divorced”. Nothing about it seemed to have been marketed very well. On the surface, the protagonist might seem a banal and unnerving detective, but the voice-over exposes his vulnerable and conflicted side, plus frequently adds a comical tone, as he encounters a new figure and thinks “oh I’m chasing this guy” before the man tries to shoot him and Leonard realises “No… he’s chasing me”. Robert Aldrich's "Hustle" is the kind of many-layered, complex, cynical crime story we get more often these days in novels than in movies. THE HUSTLE is a gender-swapped take on 1988's Dirty Rotten Scoundrels (itself a remake of 1964's Bedtime Story) starring Rebel Wilson as Penny, a low-level grifter who suddenly sees how much money she could be pulling in when she has a chance encounter with Josephine (Anne Hathaway), a multimillionaire con artist who pulls big scams from her estate in the south of France. This causes a significant predicament as voice-overs given by subjective narrators are usually used to make the spectator empathise with the speaker, but here Kubrick offers a narrator that is a ruthless sociopathic killer and rapist.