The Hustler - 1961
The alluring prospect of promiscuity and hypothetical sexual encounter is an enticing aspect of the Old Miami’s appeal. The controversial history that predates this establishment precludes this prospect. This was never more explicit than when the bar went by the name of Ken’s Lounge (1960s-1970s). At that time, one could expect to purchase sexual encounter. The process was horribly direct, and arguably less gratifying than it is now. In the backroom, the floor housed mattresses, and bar-maidens doubled as commodity. For a price, one could buy a few minutes on an abused bedspring, and a set of sweat drenched thighs. As time passed, the absurd and direct nature of this type of encounter was replaced by subtlety and association. The appeal of sex is not far from the contrivance that is today’s Old Miami. It is not that the Old Miami continues necessarily to sell sex, but rather, that one is convinced and amused with the prospect of intimacy often equated with the act of drinking and playing pool. There is a certain physical gratification that endures despite the dissipation of the type of gratification which can be associated with prostitution.
The pool table is a veritable adult library. The worn covers of pulp magazines, “men’s sweats,” crowd the pockets, and canvass the smooth green felt. The game itself is intimately equated with sexuality. This is undoubtedly the result of films such as The Color of Money and Hustler. Both films encouraged increasing numbers of people to return to the pool tables they had once abandoned. While positioning the cue, one can not help remembering the smooth on-screen presence of Carmen (Mary Mastrantonio). As the balls ricochet violently towards various destinations, one recalls the perpetual conflict between an experienced Fast Eddie Felson (Paul Newman) and a dense and hot-headed Vincent Lauria (Tom Cruise). They compete foolishly for her attention, like school children quarreling. Newman even uses her as a pawn to get Vince back into the game. One imagines that when they stare off the screen at obtuse angles, they are staring into the abyss that is her character. It is interesting that this look can come to signify attraction. Somehow, sex is even equated with the nine ball as it rolls into the corner pocket. The gratification is nowhere near as explicit as it once was, but it continues to speak. If one follows the threaded associations, it presses itself on you as Carmen pressed herself on Vincent.
One can not help remembering that it is sex itself which sold pool to the American public. Although money is an endearing prospect, the relationship between Fast Eddie, Vince, and Carmen is what captured viewer imagination. It is not hard to comprehend an audience that was entirely convinced that being successful at the game of pool garnered one physical attention. This is the very existence of the Old Miami pool table, and one of the many gratifying associations that flood the periphery.
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