Gigoló americano

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-

This is one of Richard Gere's first lead roles in Hollywood, and he doesn't disappoint. The film gives a little insight, a preview even, of the seamier side of the 1980's. Beginning with the shots of Julian Kaye's (Gere) Mercedes convertible, glimpses of Rodeo Drives and Malibu (all with Blondie screaming "Call Me"!), the film manages to be more than just a whodunit. Perhaps the charm of the film for me is that we're never quite sure what to think of Kaye and his married lover (Lauren Hutton), but their quest for happiness with each other is believable. And though the detective plot-line of the movie is a little contrived, Detective Sunday and Leon provide good opposite poles of this Sodom and Gommarah-like portrayal of life in L.A. In fact, Julian's verbal sparring with Detective Sunday provide a light contrast with the realistic portrayal of a gigolo on the run.

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".

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.

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