Apenas um Gigolô

I saw this movie when I was 19 at a theater in Seattle. I actually stole the movie poster out of the wall display as they did not have it locked down and it was too good of an opportunity for the more adventurous girl I was back then. I no longer have the poster( I tossed it after a while as it was damaged from too many moves). I still have 2 soundtracks from it that I bought at the time(thank God). One I've left sealed because, yeah I'm one of those types. Anyways, I loved the movie. It had a great cast(I was a HUGE Bowie fan, still am). I've always liked the director David Hemmings. Such a hottie when he was a young actor. Charming soundtrack by the way. It's definitely worth seeing. Storyline roughly is down on his luck soldier who becomes a gigolo but is a little too sensitive for his new career and the politics of the time. Wish I had a copy of the movie....

I'd heard for ages that this was pretty bad, and that Bowie was embarrassed by it. However, as it showed up on BFI subscription (i.e. Free to me) I thought I'd give it a go.

Simply stated, I can see why the reviews were awful at the time. There is a fair bit to enjoy also, though, so worth a look.

IMHO the main issue is that the tone is all over the place - some scenes are clearly played for laughs (heavily signalled by the "oom-pah" score) even if they are not funny. On the other hand, some bits really *are* funny. The balance between the nazism and the nightclub scenes is however much better handled in Cabaret (of course). Some reasonable acting therefore gets a bit lost along the way.

Bowie himself looks a bit stiff and awkward much of the time - something that worked much better in the context of The Man Who Fell to Earth than it does here.

Believe it or not, this was David Bowie's first acting role in a motion picture, despite the fact that this film was released a year after THE MAN WHO FELL TO EARTH. A large portion of this film was destroyed in a fire, so it took director Hemmings nearly three years to piece together a motion picture out of what remained. With that in mind, this is a remarkable film, and one can't help but wonder what the finished product might have been like had it not been for the fire. For what is most intriguing about this film is the use of real footage of the Weimar Republic Germany in all its glorious decadence and decay. Whether this footage was used to buffer the missing footage or planned from the beginning, I guess we'll never know, but it brings an invaluable air of absurdity and black humour to what is already a pretty outrageous film. All the performances are great, especially Bowie, who really is one of the most underrated film talents out there. And the music score, which features some of the glorious songs from that era, as well as the irresistible theme song from Miss Dietrich, is fantastic! If anyone knows where I can get a copy of the soundtrack, let me know!

When the fastidious "Lt. Paul Przygodski" (David Bowie) returns to Berlin society after the end of the Great War, he finds that things have profoundly changed and that his skills - such as they are - are not going to help him make much of a living. What he does have, though, is looks. He can easily turn an head or two when he walks into a room and so quickly realises that he can make some money "entertaining" the wealthier class of lady - already married or not, or even the occasion gentleman. As the Weimar Republic starts to give way to embryonic Naziism, the story also attempts to take a more serious track attempting to illustrate the profound societal changes in the city and the country whilst he and his clientele attempt to stay aloof and immune from the increasing anger and intolerance on the streets. It's really that attempt at the political that spoils this. Had it been left as a seedy story of a man using his beauty and, to an extent, his brains to get on in life then it have made for a decent watch. It doesn't though, it meanders all over the place mixing it's themes and delivering something that doesn't quite seem to know where it wants to go or who it's for. There's a decent enough effort from Sydne Rome as maybe the only honest woman in his life "Cilly" and there's a charming cameo from Marlene Dietrich who just about manages to, almost breathlessly, sing the title song but the rest of the cast seem underused and their characterisations undercooked to the point where I began to wonder if the likes of Kim Novak and Curd Jürgens just owed director David Hemmings a favour. It has it's moments, but just not quite enough of them and it does show up Bowie as rather wooden.

This is one of the most unusual films I have ever seen. It's an offbeat, sensitively filmed look at Weimar Germany in a sort of parallel-universe version. "Cabaret" it is not! If you ever get a chance to see it, I don't want to spoil the ending for you . . . but when you see it, you'll say to yourself, "Of course! Why didn't I foresee that coming?!?" David Bowie plays a sort of innocent ne'er-do-well discharged from the German army after World War I and drifting through existence; he can't find anything to do with himself except hire himself out as a "gigolo" for rich, proto-Eurotrash war widows in ballrooms where they "dance to forget". Bowie's father is a once-domineering tyrant who has been silenced by a stroke. Bowie tries to break the news to him that he has descended so far as to play the gigolo, a betrayal of his father's macho ideals, but Dad only sits in stony silence -- a disturbing scene. Bowie plays a poor lost soul. As Western civilization decays all around him, a sinister character stalks him and tries to gain control over him; this bloke is vaguely homosexual (only suggested), and one of his lines is a real groaner of a double-entendre: "We will have you in the end!" Marlene Dietrich is the center of romantic gravity in this story; she sadly, sweetly tells Bowie the raison d'etre of forlorn women dancing with gigolos in the ballrooms -- the only way to assuage loss and stave off despair. Then she performs the song "Just a Gigolo", bringing out all the heartbreak from its depths. The end of the film is dark and truly chilling. Go see it if you can!