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American Gigolo 1980

Rules of the Game

First rule of the male hustler? Find and have sex to make money. In the cinematic universe, the “rentboy” is often depicted as an impossible love object that will only bring hurt or frustration to the lovelorn client because where his heart should be is a cash register.

Hustling to make a buck or feed a bad habit, they’ve discovered a revenue stream in the emotional instability of the lonely ones. Whether it is a closeted, married man or a neglected older woman, needing a drink from the fountain of youth, a hustler’s ambition oftentimes is gender blind.

We will delve into the stock traits and characteristics of the cinematic male hustler, proving it takes more than unapologetic beauty to succeed.

MEET JULIAN

When we first lay

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eyes on Julian (Richard Gere), he is cruising down a beach highway to the tune of Blondie’s ‘Call Me’. Behind the wheel of a jet black, drop top Mercedes Benz and sporting a tailored cream suit jacket, power blue dress shirt and burgundy tie, this call boy is the American dream.

As a lot of our male hustlers in this series are smalltime, broke, and at the mercy of their clients, Julian is liberated. At least, that is the illusion. And through a combination of luck, beauty, physical talents, and the right connections, he has reached the pinnacle of his craft. Julian is a business.

He’s the man men want to be. He’s the man women call when they need the job done right. He prides himself with speaking “five or six” languages, the sixth being “the international language”. He exhibits all the prototypical stock traits, especially a sense of independence and irrepressible freedom.

Widows, foreign tourists, and rich housewives are Julian’s usual customer. They tend to be filthy rich, privileged, exalted, and lonely. Furthermore, what they all have in common is the need of a companion both inside and outside the bedroom.

Our kept boy finds himself one evening at a tenfigureaplate political banquet, shoulder to shoulder with a date old enough to be his grandmother. Another day, he is showing off his knowledge of antiques with a new old biddy at a boutique shop a little place where you check the price tag, bristle, and make a beeline

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for the exit.

He meets Michelle (Laura Hutton) in a dreamy restaurant of a big hotel. He approaches her table and smoothly drops some French, overhearing her at the bar. Michelle is a big catch, possessing all the traits

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a hustler

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feeds on.

She is neglected, having been put second to her ambitious husband’s political career. Tony lays the trap, simply asking why she is sitting alone. And after some verbal cat and mouse, he surprisingly leaves her at the table like Tony in Looking For Mr. Goodbar. Will this cool and elegant blonde take the bait?

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