User reviews

As a gigolo Julian Kaye is the most stylish you can imagine. He lives in a tasteful apartment, minimalistic before minimalism became fashionable. His lady friends lavish him with expensive gifts. He wears only the best clothes, assembling outfits with good taste and knowledge of colours. He's also, smart, witty, charming and polyglot.

The perfect man? If you are rich, lonely and middle-aged. Julian prides himself of being able to pleasure women neglected by their men.

However, behind this glamorous facade, Julian is lonely and despised by his peers for his arrogance. When a rich, kinky wife gets killed in a kinky way, Julian becomes quickly suspect number 1.

In the meantime, he managed to start a "real" relationship with Michelle, the trophy wife of a politician. Will their love survive the storm?

Gere - allegedly chosen to replace John Travolta - plays the role of his life with deceptive nonchalance. He made it so simple, the public believed he was Julian and the critics always underestimated him as another pretty face.

It's a shame, because Gere is a talented actor who never received the praise he deserved. This movie is a modern, unmissable classic, ushering the materialistic Eighties with style, sophistication and an unforgettable soundtrack inclusive of Blondie and Moroder smash hit "Call me".

Richard Gere is perfectly cast in the role of decadent but vulnerable male gigolo cum prostitute who is framed for a murder he didn't commit. His emotional entanglement with a married woman (Lauren Hutton) is believable, but the film is above all a dissection of the emptiness of the kind of stylish materialism which was to become such a hallmark of cosmopolitan lifestyle in the 80's. Like many such morality tales, though, the superficial attractiveness of the 'style' as a way of life is liable to lead some to embrace rather than reject it as a way of bringing excitement into their lives. In any event, a stylish piece of cinema.

"American Gigolo" really is slick and stylish. As slick and stylish as any film could be, so you really wonder whether this is Schrader's film or Jerry Bruckheimer's? If you look solely at the screenplay, it almost fits into the typical Schrader exploration of any given 'seedy underworld'. You could even argue that Julian and Michelle are in a way similar to Travis and Betty. Looking at the final product, however, I see a slick Hollywood mystery-thriller that's actually far more interesting for its romantic sub-plot than for any of the suspense parts.

Don't get me wrong, in places "American Gigolo" is a quality character study, and the romance is as well-written as you could ever expect from a major, mainstream Hollywood production, but the suspense thriller portion is just so banal, expected, and predictable that it really takes away from an otherwise very good film. Perhaps most worthy of praise here is Richard Gere who gives one of his best performances here, and I certainly cannot even begin to imagine John Travolta in the lead role.

It sounds like I'm criticizing how stylish this film is, I'm really not. It's pulled off pretty darn well in comparison to how many films of this sort have ended up, and you have to admit Gere's wardrobe is impressive. The film is well-shot and well-acted and for the most part quite well-written (although this is far, far from Paul Schrader's best work as a screenwriter). My comments on the film's slickness are really just a natural reaction to this film coming right after "Hardcore". Indeed, it seems like this film is a signpost for the early 80's (the dud of a score proves it) where in Hollywood even homicide cases with a Gigolo as the main suspect are glamorous rather than gritty.

A lot of people hate this film, but it has also gained a large cult following and a respectable following from film critics and aficionados, even landing a spot on the 'They Shoot Pictures, Don't They?' top 1000 list, and I can't really understand why anyone would have such extreme feelings about a film that is just watchable and entertaining. I don't think Schrader did his best work here, but it's not his worst either and the film as a whole is so unimposing and forgettable that I find it hard to believe it has so many fans and so many detractors.

7/10

Fresh off his eye-opening 1979 effort Hardcore, writer/director Paul Schrader struck again in 1980 with American Gigolo. This is the story of a high-end male prostitute (Gere) named Julian Kaye. Julian caters to the every need of several well-to-do older women whose husbands either are unable or reluctant to satisfy them. Julian is good at what he does, and he knows it. But that's his problem. His subtle arrogance is beginning to rub others in his line of work the wrong way. After he is framed for the murder of a kinky wife, Julian finds that none of his associates will help him clear his name. Adding to his misfortune is the fact that in order to clear his name, he will have to reveal much of what he does, as well as the identities of some of his powerful clients to the police. Either way he's screwed. He either goes to jail for the murder, or he never enjoys his profitable career again. The only person who seems interested in helping him is a state senator's wife (Hutton) who has fallen for him.

The film is really not bad. Maybe better than it deserves to be. Much of the credit goes to Richard Gere. Say what you want about the man's odd behavior off screen, but as an actor he is always top drawer. He plays Julian as a smug, intelligent, and sexually ambiguous young man. The performance keeps you guessing as much as the screenplay. Lauren Hutton is very beautiful and plays her part with classic sensuality. This woman never did that much after this, but she gives a fine performance here. Hector Elizondo is on hand as a sleazy detective, and look out for Bill Duke in an early role as a homosexual hustler at odds with Gere.

As for the direction, Schrader does what he can, but he is much better as a writer than a director. There is nothing overly creative about how much of this film is shot. George C. Scott tried to convince Schrader to stick to writing while on the set of Hardcore. American Gigolo is a much better film, so maybe Schrader took those comments to heart and made himself better. Still, the man is just not quite the director you'd hope. Some of the scenes are just a little too stale, with only the actors to breath life into them. One downfall might also be the conclusion. The film just kind of ends without a lot resolved, and a tough choice made by a major character just isn't given the proper motivation you'd think it would need. That said, American Gigolo is not a bad film at all. It was better than I expected, and it is a nice time capsule from 1980 Los Angeles. Give it a try. 7 of 10 stars.

The Hound.

Giorgio Moroder's signature synths followed by Deborah Harry's instantly recognisable new wave classic, Call Me, opens up American Gigolo as we see a pretty suave 80s Richard Gere in a black Cadilliac driving along the beachside. Gere has all the trappings of a wealthy 80s lifestyle so usually romanticised in a Bruckheimer production but the film establishes in its first few scenes that Gere is pretty much a buck for hire with little sway over his Aryan madam. This form of bait and switch appears throughout the movie, with Gere appearing in control and pretty cool at first and then as a total whore. The dichotomy between these two personas plays a big part of the film's plot as Julian K., Gere, becomes entangled in a murder investigation of a trick who is the wife to a wealthy S&M aficionado and learns that he should question the many friendships he's procured during his career as a loverboy. Lauren Hutton plays a random woman that Gere meets and develops into the film's love interest after one of the most minimalist sex scenes in an 80s film. The set production, music, acting and story is all very connotative of the eighties. Apartments are gray or salmon coloured with minimalist artwork and expensive vases and silver blocky stereo systems - it's clear with some scenes, including one where Gere hangs upside down to do some crunches, that the set design heavily influenced the mise-en-scene of Mary Harron's adaptation of American Psycho. Moroder's various compositions of Blondie's Call Me highlight the continuing descent of Julian k. as the chorus becomes more melancholic and ominous - it's all very suspenseful from an eighties perspective. Some may find the final scenes slightly ridiculous and most likely unrealistic, but one should remember that American Gigolo was produced by Jerry Bruckheimer and even on the tail end of New Hollywood, the film does show caution in its dark themes as not to alienate mainstream audiences. I definitely felt the material was pretty subdued for a film written and directed by Taxi Driver's Paul Schrader. However, it doesn't matter as the film is effective as a time capsule of the seedier side of the eighties.

Richard Gere's undeniable screen presence will surely delight his fans.

Unfortunately, his charisma and good looks alone can not carry this tedious, emotionless film.

"American Gigolo" does not work as a crime drama or love story. Due to poor writing, there is essentially no significant character development. As the film muddles its way from beginning to end, it failed to make me care about any of the characters.

A big disappointment.

I was under the impression that "American Gigolo" was one of those "cult" movies I never understood why so many people liked in the first place. But I was utterly surprised by the user rating of this movie and the fact that there are only a couple of comments. But the biggest surprise is I actually liked the movie, I found it extremely interesting and thought it had a great 80's feel to it. Richard Gere, who never really impressed me with anything, is in the role of his lifetime, playing his playboy role to perfection.

Director Paul Schrader made a smart movie that doesn't have to show everything in order for the viewer to know what happens and I liked it. The ending is very suitable and I especially love the last scene and Gere's last sentence which really touched me.

I didn't really understand the plot, but with Gere, a great score that manages to keep a single song interesting throughout the entire movie and great directing "American Gigolo" stands high above average and is one of the best movies of the eighties. 8/10

Why do Richard Gere and Lauren Hutton act like they just received frontal lobotomies? Why does Hector Elizondo (who was very likable in Chicago Hope) seem totally miscast? Why does the plot of this film seem to make very little sense?

I guess we're supposed to see this film because we're intrigued by Richard Gere being in a near full frontal scene, and the concept of his sleeping with older rich women. No thank you.

There's nothing romantic about the romance, and there's nothing suspenseful nor intriguing about the murder plot. Skip to either American Beauty or American Pie sitting adjacent on the shelf. Trust me.

It's hard to precisely depict the impact of the smoky undertow of 1980s LA mores on the emotional and cultural landscape of the city, but Richard Gere's subversive topsy-turvy solo show comes close. Weird, well-shot and intriguing. The queasy feeling it leaves is hard to remove even days later. A/A-

Richard Gere is an escort to the older, wealthier ladies of los angeles. A friend asks him to drive to palm springs for a (rough) date with a woman, while her husband watches. Around the same time, he gets closer than usual to Michelle (Hutton)... she shows up at his door, and gets under his skin more than he usually allows. When Detective Sunday (Elizondo) shows up asking about a murder, he realizes he's going to need help from some folks for an alibi. Except that most people won't want to have any of this shared with the police. Or the public. Some great scenes of LA and palm springs. Hamburger hamlet. Tower records. All gone now. Good story. Long story. Almost two hours. Written and directed by Paul Schrader; he had made Taxi Driver and Raging Bull with Scorsese and DeNiro. Pretty good track record. This one showing on epix channel.

There are some actors who simply command the screen whenever they are seen. Richard Gere is one of those actors. No matter what the role, I can't help but be entranced. American Gigolo. From the beginnng where we see Julian during a typical day, to his exercising from the ceiling, to his inital meeting with Lauren Hutton's character, you know this is going to be fun---if you just relax and enjoy it. I saw this in a theatre a looooong time ago, and just watched it again. Giorgio Moroder's music and Blondie add special touches. This film has a permanent place is my guilty pleasure film library.

Okay-ish thriller-drama. Plot setup was good but it just seems to drift from a point. Ending is a bit trite and quite predictable. Surprising, as the movie is written-directed by Paul Schrader, who wrote Taxi Driver and Raging Bull for Martin Scorsese. Maybe he shouldn't direct... (though Affliction was great and Cat People was decent).

Performances are OK. This was Richard Gere's breakthrough role.

Richard Gere plays a gigolo. Somewhere along the way he finds himself a prime suspect in a capital crime. Who could have framed him, and why?

This film will be remembered for creating Richard Gere. He is the entire film. The seedy look of LA is created deliberately by Paul Schrader, and his social commentary concerning the emptiness of peoples lives shines through. Yet it's not enough to make the film entirely enjoyable. Richard Gere is perfect here, his Julian Kay is a character not easily forgotten. However, all the other characters should have been polished just a little bit more. None of them are interesting. Lauren Hutton's character comes off as a bimbo, nearly plain dumb. The murder subplot is never fully developed, and hence, never becomes all that interesting. And the finale, with it's relentless shifts between scenes that all seem to be cut short, makes one wonder if Schrader knew entirely how to finish the film.

Still, an interesting early eighties film, which looks great, is completely original, has a fantastic central performance and a great music score by Giorgio Moroder. And the Blondie song of course.

I rented this movie after Sommersby because I was interested in seeing Richard Gere in another somewhat shady role. Ugh, this film was tedious. Another reviewer has written that it's like Showgirls without Verhoeven, just Eszterhas. That feels pretty accurate. Lauren Hutton seems to be a mouthpiece for Schrader's fantasy (I hope she got paid well). Gere's character sounds as snotty as Pamela Lee Anderson in VIP. Maybe that's a credit to Gere's range, but it's not fun to watch. Not long into the film, you start hunting around for anything to alleviate the tedium. I can only point to the soundtrack, which remixes Blondie's "Call Me" in a lot of slinky ways. So download the soundtrack, skip the movie.

Enjoyable and different character study works better as a romance than as a thriller. Julian (Richard Gere) is a male prostitute who falls in love with one of his clients (Lauren Hutton, who is well-cast), the wife of a famous politician. About the same time, Julian realizes that he is being framed for a kiky S&M murder, and is wanted by the police. Hutton is the only one who can give him an alibi, but can't without putting her husband to shame.

Although the thriller element doesn't really work, the film still excels because of Richard Gere's wonderful performance. He creates a character that is intense and somewhat sleazy, yet amazingly vulnerable and naive. His performance (and the chemistry he shares with Hutton) holds the film together and makes it work. Gere created one of the most interesting chracters of the last two decades.

I've found sitting down to write on `American Gigolo' very difficult, and it took a while to put my finger on why. I don't care about the flick in the slightest. It's not bad, just solidly mediocre. If it weren't for writing this blurb, it's a movie that I would remember having seen, but all the plot points would seep out of my head in a matter of weeks.

The most interesting aspect of the movie has nothing to do with its on-screen content. It's amazing that the same man, Richard Gere, has starred in the two canonical `hooker with a heart of gold' movies of the past 20 years. I am referring to this and `Pretty Woman', of course. This would be particularly standard Hollywood typecasting if it weren't for the fact that Gere played the hooker in `American Gigolo' and the flipside, the suitor in `Pretty Woman'.

The camera work is fairly uninteresting, but doesn't detract from the story. There is a vain attempt to set the mood of the entire piece by casting many shots in blue, often through shadows of Venetian blinds. The `blue movie' analogy is just heavy handed.

Julian Kaye (Richard Gere), gigolo extraordinaire, is framed in a murder case. This plotline is uninteresting, unbelievable and distracting from the love story between Julian and Michelle Stratton (Lauren Hutton), a (state?) senator's wife. It's clear that the murder is just a device so that Julian has nowhere to turn but to Michelle. Julian's career is ruined, but love conquers all, right?

The chemistry between Hutton and Gere is wonderful. If it weren't for the murder subplot, this could have been a great romantic drama. As it is it's a weak coming of age story of a naïve gigolo finding love.

Don't get excited about watching this movie, but if you want an interesting combination of movies try these. Deuce Bigalow: Male Gigolo followed by American Gigolo. The former will put a lovely comedic spin on the latter. American Gigolo followed by Pretty Woman. Imagine Gere in Pretty Woman as Julian Kaye plus ten years.