derzessionar

The movie probably would not have been made without some modern liberal angle, yet it stands on its own merits as a chronicle of those times. The account is also pieced together from documentary evidence.

Bleak and harsh-yes-but life was simply like that. Death and starvation were everywhere. If you felt sorry for Agnes in the end, you're lost in modern mores. The denouement shows a tribe at ease with itself and with God. The punishment was just, and I felt satisfied with the outcome as logically consistent with the story, each character's role, and the way life was lived at that time.

It might have been tempting to "Apple-ify" or "Netflix-ify" it, but Germanic cinema can still handle authenticity very well. I hope Heimat Films continues making movies like this, exploring tribal life and life before the nation-state.

The preview mentioned mental illness, but that presumes an individual mind in an era predating Liberalism. You traveled with the tribe, produced the next generation, and that was that. And woe betide you if you did something that harmed the whole.

"American Gigolo" is undeniably a product of its time, featuring the iconic Moroder/Blondie soundtrack and the unmistakable fashions of the nineteen-eighties.

Richard Gere is completely at ease in the role, bringing the perfect mix of looks and charm, while adding the vulnerability the character needs to resonate with the audience of that era. The lead - which could have been Travolta in some alternate casting universe-was always set up by Schrader to shine brightly here, and Gere took full advantage of it.

Aside from Hutton, the supporting cast felt namely somewhat underdeveloped. Hector Elizondo plays the formulaic 70s detective Sunday, and Stratton is that sleazy, knows-what-it-takes-to-stay-a-senator type. Then there's Leon, the stereotypical 70s pimp, with gay bikers and a cute blonde runaway thrown into the mix. Nina van Pallandt, another glossy Blondie beauty, may have struggled with the language in this role, while the older Hollywood dames do not have much to say for themselves.

Yet, the film isn't without substance. The morality tale comes through well enough, focusing on two lonely souls trapped in their very public lives, both yearning for the finer things but unwilling to completely sacrifice their dignity (no more "fag tricks," Leon!). Kay is cool, arrogant, seemingly in control, at the same time usually willing to compromise so long as the price is not too low.

Michelle is sensual, good-looking but emotionally-unsatisfied. Yet she won't leave Stratton and spends inordinate energy to find a way to help Julian even if he wants to just accept his fate and goes out of his way to make his own life more difficult than it needs to be.

Their relationship could have been explored better.

Julian is probably sincere when he explains to Michelle why he picked her up, and her need is pretty straightforward (either from sexual frustration or just the "depravity" of paying for sex). They clearly enjoy each other sexually. He claims, "This is what I've been waiting for." She goes from 'I've brought money" to "I just want to hold you". Are they just victims of the new style culture? Longing for the material trappings their outward appearance brings which hides their true deeper souls? Do they have anything else in common besides that?

Or is Julian simply at the point in his career ("I will break in your young boys" he tries bargains with Anne) where he simply needs more out of life?

In the end, does it even matter, given how they both just seem to be carried along by the flow of things? I would not even call it a critique of 80s California since it literally straddles both decades.

Nonetheless, I could just sit back and enjoy the movie for its superb camerawork, styling, and clean LA backdrop. The classic cars, timeless Armani suits, and of course Richard Gere sauntering in and out of various fine establishments. The movie that made him a male icon.