USA Up All Night (also known as Up All Night and Up All Night with Rhonda Shear) is an American…
Julian makes a lucrative living as an escort to older women in the Los Angeles area. He begins a relationship with Michelle, a local politician's wife, without expecting any pay. One of his clients is murdered and Detective Sunday begins pumping him for details on his different clients, something he is reluctant to do considering the nature of his work. Julian begins to suspect he's being framed. Meanwhile Michelle begins to fall in love with him.
Growing up, I always thought Venetian blinds where the height of sleazy sophistication, and I'm pretty sure this film is to thank for introducing the trend. This film is incredible, stylistically. Giorgio Moroder's score is a thing of beauty, oozing opulence and decadence and offering a backdrop for the seedier side of night-time Los Angeles. I would steal Lauren Hutton's wardrobe in an instance, and - let's face it - perhaps even Richard Gere's.
The film looks and sounds amazing, and the first 45 minutes are thoroughly enjoyable, but once the murder plot sets it, the film becomes a terrible caricature. Is it supposed to be suspenseful? The film is casually homophobic and misogynist, and there is little attention for…
There is quite a bit I do not know about "American Gigolo." For one thing, I can't tell if the film is misogynistic and homophobic, or just so melodramatic that all of its characters seem a bit like caricatures. I also can't quite tell if the film is legitimately well made, or just so strange that I can't help but become absorbed by it. But one thing is for sure: I was never bored by this movie.
Fueled with a synth score that may feel awfully out of place but is pretty damn good, "American Gigolo" is a moody piece of melodrama fueled by surprisingly decent lead performances. Many of the supporting players do a bad job here, but Richard…
American Gigolo is another of Paul Schrader's "God's lonely man" films. His quartet being Taxi Driver, American Gigolo, Light Sleeper and The Walker. They are a fascinating set of films, as much for their flaws, as for their successes. They are character studies of opaque, egotistical demons, increasingly pathetic and less dangerous with age. They mirror Schrader himself, and his own career. American Gigolo is the second of quartet and the first directed by Schrader. The film is built around two magnetic aspects, Richard Gere's preening, marvellous central performance and Giorgio Moroder propulsive and unbeatable score. People went crazy for Nightcrawler last year (a weak, overcooked faux-satire almost rescued by an unblinking Gyllenhaal) however the whole film and more is…
Almost a forgotten masterpiece.
Until the final 15 minutes of this movie I was thinking that I rediscovered a 1980’s film that was under-appreciated and possibly lost in the drudgery that was 80’s cinema. Then the ending derailed the movie enough that I am tempted to give it a negative review.
Written and directed by Paul Schrader, who also wrote classics like Taxi Driver, Raging Bull, and The Last Temptation of Christ as well as directing Auto Focus and Affliction, this movie depicts the life of a high class male escort living in L.A. in the early 80’s. The movie’s plot focuses on a murder that the protagonist, Julien as played perfectly by a young and sexy Richard Gere, is…
Whereas Schrader's previous two films "Blue Collar and "Hardcore" feel extremely 70's in their griminess, "Gigolo" steps up the style exponentially basically serving as the blueprint for endless films, music videos and especially advertising in all of it's surface level polish and sleekness. Sexy camera movements, good looking people, expensive things this is the kind of movie that makes you want to do a bunch of cocaine and spend money, that is until the money runs out and your ass gets framed for some weird murder...
This was a part that was shopped around to a number of actors including John Travolta and Sylvester Stallone (!) but really Gere is the only one who could pull this role off. Never…
Richard Gere > Rob Schneider
(Scorsese + Bresson) / Bertolucci = American Gigolo
What stands out to me about this, besides the sleekness of it all -- Richard Gere's long, lean body; his put-on gestures; his postmodernly open, flat, white, spacious apartment; Paul Schrader's gliding, glossy images capturing it all -- is the depth of Schrader's interest in class boundaries and the messy histories he taps into to get this across. There's an idea behind American Gigolo's aesthetic. Postmodernity was when capitalism taught us that the opposite of what was at the surface was no longer the unbridled primitivity of psychological essence, per Freud, but rather: surfaces -- extensions and representations of oneself in the world -- were what you could sell, and essences were what was priceless.
And so, Gere's character here…
I can't imagine anyone else playing this part..
Richard Gere has style.
A great demarcation mark from 70s paranoia/conspiracy to the glitzy/glam sleaze of the 80s.
Did this film invent "the 80s"?
Format: Digital file (unfortunately split into 2 parts)
Location: Home, projected
P.S. Very glad I saw Bresson's 'Pickpocket' before this and not the other way 'round...cinephiles take note
Schrader’s neo noir captures the dawn of the 80’s with its synth driven music, coke, narcissism, and the bed buddies of big money and politics. It’s a pre-Mann snapshot of the decade directed with style by Schrader's moving camera and has a nice Bresson homage at the end. However, the central mystery could use a snort of coke and titillation from Gere’s gigolo.
A Los Angeles male escort finds himself framed from a crime he did not commit. An era-defining movie that ushers in the 1980s and brilliantly nails the shallowness of the upcoming decade but does so with mostly unconvincing characters and an ultimately ridiculous plot. Gere's wooden performance perfectly fits the character, but it doesn't help "American Gigolo" keep its precarious balance between sharp social commentary and lazy plot development.
Unsympathetic characters, flat dialogue, and suspense more frustrating than compelling = not really a winner to me. Excellent Armani suiting, though
Missing films I can't locate on Letterboxd:
Blonde Ambition (1981)
I Like to Watch / Caballero (1982)
Mona the Virgin…