American Gigolo

American Gigolo

The film “American Gigolo,” however, is a stylish and surprisingly poignant treatment of this material. The movie alienates us by its experiences, but not by the feelings of its characters: Julian Kaye, the title character gigolo, is played tenderly by Richard Gere. We care about him; his business consists of sleeping with rich women in their forties who have reached an age where success can only be measured by Beverly Hills’ trappings a Mercedes Benz parked outside his expensive wardrobe full of antique vases that grant him entry into country clubs.

And yet he says he’s not doing it for money and we believe him because none of these seem like anything other than stage props to him. He gets “a sense” out of making older ladies smile, he tells us; sees himself somewhere between sexual surrogate and therapist and so does the movie: why, he ain’t even much’a whore with heart’a gold.

This sentimentalizes things somewhat setting up Julian as such a sympathetic character that we’re willing to overlook what he does for living–and it’s a trick borrowed from one Schrader’s own heroes Robert Bresson whose Pickpocket turns criminal into anti-hero but still. Also (apart from being too long) there aren’t many contenders here if any at all and Lauren Hutton’s senator-wife character doesn’t really fit bill so maybe this wasn’t such good idea after all?

Certainly looks like they’re trying set stage for key relationship between Julian and said politician’s spouse when he tries hitting on her at some fancy restaurant before abruptly leaving once she reveals herself as unlikely customer however it turns out later that night while Julian is having sex with his girlfriend who works there part time because haven’t you heard everyone has two jobs nowadays especially in LA she walks into apartment completely naked demanding know how much charges for hour which leads directly into them falling deeply madly passionately head over heels love each other just around about same period where someone else frames him murdering rich white lady Palm Springs yawn blah blah.

Then there’s moment towards end where it seems like Schrader might want us believe love can save both these people (Julian learns unconditionally; senator’s wife learns unsparingly) but this would have been lot more convincing had we witnessed at least one or two scenes exploring their emotional connection beyond mere sexual attraction since neither character really gets fleshed out enough she never stood chance being anything other than plot device designed reveal Julian’s “true” self.

The entire film is sadly triumphant; remove the sensational parts of this narrative and it becomes a meditation on being alone. This effect mainly depends on Richard Gere’s acting, but not only his some moments like reading newspaper in the morning, moving paintings around or choosing clothes for the day bring out how hollow one’s life can be. When we finish watching “American Gigolo”, there lingers an odd thought: if these ladies did not pay him for sex, he would pay them instead. He yearns for closeness with others, and shyness combined with sullenness helps when love appears as just another transaction to him.

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