Word: gigolos
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Dates: during 1960-1969
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...people. But the picture belongs to Actress Page, who starred with Newman in the Broadway play. She swirls to the girls' room as if to a coronation, she cuddles her oxygen mask as a normal woman might cuddle a newborn babe, she dimples in maidenly dither at her gigolo's advances, she proceeds a moment later with hard-nosed efficiency to collect what she has paid for. She is a mascaraed monument to the era of the superstar, a veritable muse of publicity...
...picture starts out as a naughty, nutty boudoir farce. The lover it celebrates (Jean-Pierre Cassel) is a gay young gigolo whose rich mistress (Micheline Presle) keeps him comfortable but also keeps him busy. Even so, the lover has enough libido left for a chic chick (Jean Seberg), and for several reels the tandem romance rackets merrily along. Neither mistress knows he has the other; he on the other hand is blithely unaware that both attend the same hen parties...
...magazine, not transition but Booster, and danced not the Charleston but a fandango along the gutters, in the brothels, bistros and mansards of Montparnasse. In telling about it all. he establishes the hardly original thesis that being broke is very hard work and that panhandling-working as cut-rate gigolo, or becoming valet-pimp to a parsimonious Parsee-can involve more shame and chicanery than the whole career of a Babbitt or a Cash McCall...
...blame it on me, the very center around which the whole universe revolves." Topsy-turvily, compassion is extended to the evildoer rather than to his victims. Thus the recent U.S. scene has offered the spectacle of "The Martyr as Manly Rapist" (Caryl Chessman), "The Martyr as High-Minded Gigolo" (Chance Wayne in Sweet Bird of Youth), and "The Martyr as Put-Upon Professor" (Charles Van Doren, self-proclaimed victim of the TV quiz riggings). The ultimate in 20th century "compassion" is to declare God irresponsible. In a Jules Feiffer cartoon a kindly chap standing on a stool concludes his monologue...
Where the Hot Wind Blows (Titanus; Embassy). "Gigolo!" hoots a smalltime Italian racketeer (Yves Montand) when his son tries to run away with a wealthy married woman (Melina Mercouri). In shame the boy abandons her. His father then looks the woman over, approves of his son's selection and announces suavely: "You cannot go home. My room is at your disposal." Stunned, she follows him. In the room he grabs her, kisses her, slugs her, rips her dress away. "Please," she murmurs seductively, "turn out the light." Triumphant, he turns to do as she asks, turns back in horror...