A struggle in terms of male identity is also demonstrated in Humphrey. In Humphrey, the protagonist, Yorgos, is not a conventionally desirable macho man – he is arguably a loser, and he deals with his inner feelings of insecurity through reinventing himself after watching Casablanca. He takes on the persona of actor Humphrey Bogart, begins talking and dressing in a 1940s style, and spends money he cannot afford so as to appear a certain way. He loses his job after hitting on a customer due to his new sense of false confidence, and almost loses his girlfriend after looking at other women at the bar. By searching for a male role model, such as Humphrey Bogart, Yorgos demonstrates that he is searching for a patriarchal figure to advise him on his role as a male in society. Before Yorgos’s obsession with Humphrey Bogart heightens, his girlfriend is comfortable around him, despite his lack of social status; however, afterwards, Yorgos’s girlfriend feels that his new behavior causes conflict as he fails to exert confidence without simultaneously attempting to dictate the relationship and their combined space, such as by re-arranging the furniture without permission or refusing to communicate his altered behavior.
Hadjikyriacou argues that masculinity is also expressed during leisure time. He provides an example of the kafenion, a male space where “manhood is expressed, reputations are negotiated, and social relationships are enlivened through endless card playing, political debate, competitive talk, and reciprocal hospitality”. [1] In Go For Broke, the main character’s house is similar to the kafenion – men have gathered there to socialize, play cards, drink, express their bravado and compete with each other. As the main character is winning, his sense of superiority increases and he becomes cockier towards the other players, putting all his money upfront due to false confidence. Even his vulgar clock on the wall reminds the spectators that he sees himself as the macho man. However, when he unexpectedly loses the game to Andreas, he still keeps his promise and cuts off one of his fingers, as that was the deal. This way, he maintains his male honor and reputation, as he cannot be seen or known as a coward either. Go For Broke highlights the fact that masculinity is multidimensional – it is not just about macho behavior, but also about fulfilling your obligations and keeping your word. While upholding oral agreements may be admirable in tradition and modern culture, respectively, Go For Broke challenges the viewer to consider at what point can masculine honor become self-harming, physically and psychologically.
Likewise, in Goldfish, young boys are expected to play soccer during their leisure time and physically train to become strong. When the son tells his father that he finds soccer boring, the father once again is unhappy and does not understand why his son does not like it, as he himself deeply internalised the traditional notion of masculinity and thus does not question it. In addition, he insists that his son wears a blue jacket when he goes out in public – even in today’s society, blue is traditionally associated with boys, just like pink is associated with girls. One could argue that public appearance is connected to reputation – the father could be protecting his family’s reputation, as he does not want his son to appear feminine in public or to be seen as a homosexual. Similarly, Hadjikyriacou notes, “the prestige of the family in traditional Greek societies depended on the maintenance of a good reputation”. [2] Therefore, while many forms of contemporary art, including film, address the pressure of a woman’s reputation, Go For Broke demonstrates the burden placed on men to operate in a socially accepted manner.
[1] Ibid., p. 12
[2] Ibid., p. 15
Hadjikyriacou argues that masculinity is also expressed during leisure time. He provides an example of the kafenion, a male space where “manhood is expressed, reputations are negotiated, and social relationships are enlivened through endless card playing, political debate, competitive talk, and reciprocal hospitality”. [1] In Go For Broke, the main character’s house is similar to the kafenion – men have gathered there to socialize, play cards, drink, express their bravado and compete with each other. As the main character is winning, his sense of superiority increases and he becomes cockier towards the other players, putting all his money upfront due to false confidence. Even his vulgar clock on the wall reminds the spectators that he sees himself as the macho man. However, when he unexpectedly loses the game to Andreas, he still keeps his promise and cuts off one of his fingers, as that was the deal. This way, he maintains his male honor and reputation, as he cannot be seen or known as a coward either. Go For Broke highlights the fact that masculinity is multidimensional – it is not just about macho behavior, but also about fulfilling your obligations and keeping your word. While upholding oral agreements may be admirable in tradition and modern culture, respectively, Go For Broke challenges the viewer to consider at what point can masculine honor become self-harming, physically and psychologically.
Likewise, in Goldfish, young boys are expected to play soccer during their leisure time and physically train to become strong. When the son tells his father that he finds soccer boring, the father once again is unhappy and does not understand why his son does not like it, as he himself deeply internalised the traditional notion of masculinity and thus does not question it. In addition, he insists that his son wears a blue jacket when he goes out in public – even in today’s society, blue is traditionally associated with boys, just like pink is associated with girls. One could argue that public appearance is connected to reputation – the father could be protecting his family’s reputation, as he does not want his son to appear feminine in public or to be seen as a homosexual. Similarly, Hadjikyriacou notes, “the prestige of the family in traditional Greek societies depended on the maintenance of a good reputation”. [2] Therefore, while many forms of contemporary art, including film, address the pressure of a woman’s reputation, Go For Broke demonstrates the burden placed on men to operate in a socially accepted manner.
[1] Ibid., p. 12
[2] Ibid., p. 15