Is Paul a Gigolo in Breakfast at Tiffany’s?
In the classic film “Breakfast at Tiffany’s,” directed by Blake Edwards and released in 1961, the character of Paul Varjak, portrayed by George Peppard, has been a subject of much debate. One of the most intriguing questions that arise from the film is whether Paul can be considered a gigolo. This article aims to explore this question, examining the character’s actions, motivations, and the societal context of the 1960s to provide a comprehensive analysis.
Paul Varjak is introduced as a writer who moves into an apartment building in New York City, where he meets Holly Golightly, played by Audrey Hepburn. Holly is a free-spirited woman with a penchant for parties and luxury, and she quickly becomes the center of Paul’s life. Throughout the film, Paul is seen accompanying Holly to various social events, often dressed in a stylish and expensive manner that suggests he has the means to afford such a lifestyle.
One of the primary reasons why some viewers believe Paul to be a gigolo is his close association with Holly and the fact that he seems to be more interested in her wealth and social status than in her as a person. Paul often indulges in Holly’s lavish lifestyle, including attending high-end parties and dining at expensive restaurants. Additionally, there are instances where Paul accepts money from Holly, which further fuels the notion that he is using her for his own gain.
However, there are several factors that suggest Paul is not a gigolo. Firstly, Paul is depicted as a talented writer who is passionate about his work. Throughout the film, he is seen working on his novel, which is a clear indication of his dedication to his craft. This focus on his career suggests that Paul is not solely motivated by wealth or the desire to live a luxurious lifestyle.
Secondly, Paul’s relationship with Holly is complex and multifaceted. While it is true that Paul is often seen accompanying Holly to social events, he also shares moments of genuine affection and concern for her well-being. For example, when Holly is in a vulnerable state, Paul is the one who offers her support and comfort. This indicates that Paul is capable of forming genuine emotional connections, which is a characteristic that does not align with the typical gigolo.
Furthermore, the societal context of the 1960s plays a significant role in understanding Paul’s character. During this time, there was a growing awareness of the importance of individuality and personal freedom. Paul’s close association with Holly, despite the potential risks involved, can be seen as a reflection of his desire to live authentically and pursue his own happiness, rather than simply seeking wealth or status.
In conclusion, while there are elements of Paul Varjak’s character in “Breakfast at Tiffany’s” that may suggest he is a gigolo, a closer examination of his actions, motivations, and the societal context of the 1960s reveals that he is more than just a gigolo. Paul’s dedication to his career, his genuine emotional connections with Holly, and his pursuit of personal freedom all contribute to a more complex and nuanced portrayal of his character. Ultimately, whether or not Paul is a gigolo is a matter of interpretation, but it is clear that he is a multifaceted individual who defies simple categorization.
