On Screen Gigolos

26th May 2014

The depiction of male prostitutes in film has never been one to shed a positive light on the profession, but instead often characterised gigolos as victims, societal outcasts, or just confused. While some of Hollywood’s greatest performances have come from the portrayal of the gritty reality of prostitution and the circumstances that pushed these men into such a lifestyle, other depictions aim to show the more compassionate side to the profession and the importance of companionship. John Turturro aims to do just that in his new comedy Fading Gigolo; a touching story of how one man’s stumble into a life as a casa nova leads him to his very own love story. Directed by and starring Turturro as Fioravante, a part-time bookstore employee who loses his job after store owner Murray (Woody Allen) is forced to close up shop, Fading Gigolo follows Murray’s attempts to make money as Fioravante’s unconventional pimp. Just as Fioravante begins to become accustomed to his life of pleasing woman, he soon finds himself growing closer to the woman who finally makes him happy.

To celebrate the release of Fading Gigolo on 23^rd May, we take a look at some of the most iconic and most unconventional depictions of gigolos in film.

John Turturro as “Fioravante” (Fading Gigolo 2014)

John Turturro directs himself to play the sweet and down on his luck Fioravante, who stumbles into his new profession as gigolo thanks to some gentle nudging from his friend and ex-boss Murray (Woody Allen). While both men are encouraged into their life as gigolo and pimp for financial gain, this sophisticated comedy begins to show a more sympathetic side to the profession, most evident when Murray describes Fioravante as ‘healer’ to a young Hasidic widow, Avigale, who is in search for intimacy and companionship. While the tricks of the trade provide many opportunities to show the hilarious and absurd side of prostitution, Turturro’s performance elevates this unconventional comedy into a sensitive tale about human relationships and the constant search for connection.

Richard Gere as “Julian Kaye” (American Gigolo 1980)

One of the most famous portrayals of a gigolo on screen is Richard Gere’s performance as the superficial and narcissistic male escort Julian Kaye. Julian Kaye becomes an example of the greed and lust that drives a man to prostitution. Having earnt money pleasing woman, and enjoyed doing so, Gere’s Julian Kaye is able to fund his expensive and flashy lifestyle. The film soon descends into a crime drama as the gigolo is framed for the murder of a fellow escort’s client and Kaye’s stylised facade begins to crumble to show the real human being underneath all the excess. Gere’s complex and multi-faceted performance allows us to sympathise with his character, despite his profession, as it becomes apparent his cars and clothes and wealth meaning nothing to him compared to the satisfaction of making middle-aged woman happy. While American Gigolo shows a similarly compassionate outlook to the gigolo professional, it is immersed within the dark and tempestuous undertones of the world of prostitution.

Jon Voight as “Joe Buck” (Midnight Cowboy 1969)

Midnight Cowboy directed by John Schlesinger follows the life of the eager and troubled Joe Buck (Jon Voight) who quits his job and heads towards the bright lights of the big city and seeks a life as a male prostitute. Voight’s Buck shows his initial naivety after he beds what he believes to be his first client, but he soon realises is a call girls herself and now owes her for her services. This first hint of the hapless victim Buck is further developed by the regular flashbacks into his childhood and his experiences of neglect and abuse. The film uncovers the tense and often inhospitable conditions of an urban American that is crowded by eager youths from the country in search of a better life, but are instead consumed by the city’s underworld of hustling and crime. Despite this depiction of real life grit and despair, the central focus of the film remains the unconventional friendship that develops between Buck and his business partner Ratso (Dustin Hoffman). As Buck begins to work towards his goal of earning money and building a life as gigolo, it becomes apparent that the sense of companionship and friendship that Ratso has given him has been what he was searching for all along. The strong performance from both Voight and Hoffman earnt them both an academy award nomination and the film has since been considered one of the greatest American films of all time.

Dermot Mulroney as “Nick Mercer” (The Wedding Date 2005)

This 2005 romantic comedy updated the on screen characterisation of the gigolo into the new millennium by revealing the profession can bring even more than just companionship and intimacy, it can develop into love. Dermot Mulroney plays Nick Mercer; a male escort who is paid to accompany Kat (Debra Messing) to her sister’s wedding in order to help her save face in front of her ex-fiancé. Mulroney’s suave yet sweet portrayal allows his profession to remain light-hearted and instead we focus on the blossoming relationship between him and his client. Mercer’s profession is of course regularly referenced as Kat struggles to understand the gigolo’s morals and lifestyle but after a night of passion in which Kat ensures to have enough cash to cover his going rate, it becomes clear that there is more to their relationship than just business.

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