In Chinese, the movie is ‘Duck King,’ which some people might think is a typo. Seriously, look at your keyboard.
But it’s not that. In Cantonese, female prostitutes are called chickens. Visiting a prostitute is ‘calling chicken.’
Chickens’ male heterosexual counterparts, men who sexually service women for money, are known as ducks.
The Gigolo tells the story of a young man named Fung, played by Dominic Ho, who gets a job in the horizontal refreshment industry.
And sometimes the upright refreshment industry.
He services a pair of clients, played by Candy Yuen and Hazel Tong, who display varying amounts of themselves in the film.
Jeana Ho plays Chloe, an aspiring young movie director. An article I read (the link is in the description) said that Jeana gave up her sexy image for the role. The article explained that the character was based on Barbara Wong, and quotes Jeana as saying “I don’t have to show off my figure, it would be a pure acting challenge. This time I play a female director, my costumes don’t have to be sexy.”
Barbara Wong could not be reached for comment.
Tony Ho also has a role, and as is usually the case, he damn near steals the movie with his scenes.
But why talk about the people in this movie who don’t have breasts?
Movies like this are made to appeal to 90% of men and 10% of women.
Candy Yuen doesn’t go the full monty, so to speak, but we do get to see her topless. It’s commendable.
And not just because they’re lovely.
Candy’s not using a body double makes her performance more effective and affecting than that of her costars. When the camera pans up from her tuchus or her breasts to her face, you can see that it’s all her.
Or that those are hers.
Her willingness to show herself also, by comparison, highlights the editing cuts necessary for the other actresses to use body doubles.
I’ve said before, for a number of reasons topless talent tends to be imported most of the time. So it was nice to see Cantonese breasts onscreen.
Especially because of the (unfortunate) risks Candy Yuen is taking by showing us. One of her topless scenes was ‘leaked,’ and she’s been all over the tabloids this week. Typically, the ‘journalists’ are asking relevant and incisive questions like “Now that you’ve been naked onscreen, how will you ever find a man willing to date you?”
As a Westerner who obviously is genetically incapable of understanding the vicissitudes of local views about sex, I find it hypocritical and cheap that the tabloids, and the people who read them, clamor for salacious content beforehand, and then excoriate the people who do it afterwards:
“Oooh! She’s gonna be topless! I can’t wait to see it! Look! She’s topless! Look! Ohh! She’s a whore!”
No, you are. If you really disapprove of something or someone, don’t put it on the cover, cheese-d*ck.
But where were we? Oh yes, the educational merits of The Gigolo.
Women apparently call ducks for very different reasons than men call chicken. Whereas a man might want the feeling of Ice-Fire, women apparently want something else:
Well, turn over.
That joke may sound crass and unnecessary, but I can tell you that according to The Gigolo, attaining the feeling of first love apparently necessitates being on all fours, at least for part of the time. So it’s not just me.
This movie is so devoid of basic decency that I felt like I was at my family reunion.
I also learned that sex is the best cure for a roophie hangover.
I disagree; the last time I did that, my ass hurt for a week.
A lot of the soundtrack of The Gigolo is pornographic.
It’s f@#$ing awful.
CGI has definitely been used in a movie for a coin toss before. But this is probably the first time it’s ever been used to show someone juggling coins… with his tongue.
Better movies through technology.
That’s as good an example as any of the way that The Gigolo cannot be called suggestive. It’s demanding and insistent and overbearing.
This film has less subtlety than a rhinoceros with eczema.
The moments in the movie that are intended to be dramatic are laughably hollow, because the whole film is so morally and narratively shallow that you just can’t care about anything or anyone in it except in the most prurient sense. Our protagonist Fung casually snorts K-jai and then tricks his girlfriend into snorting it too.
Then they watch 33D Invader.
A moment of sexual deviance that should come off as shocking and repugnant is instead funny because it gets the tone all wrong.
Who am I kidding? It’s not funny. It’s f@#$ing hilarious.
There are NO narrative surprises in this movie. It’s a slave to the genre, but that is also one of its strengths. There’s nothing new here, but everything is familiar in the best kind of way.
This movie made me laugh at things I knew I shouldn’t laugh at.
And that just made me laugh even more.