American Gigolo

33
Rotten Tomatoes Critics - Certified Fresh 67%
IMDb Rating 6.3 10 19,139

Synopsis


Downloaded 23,850 times
April 25, 2019

Director

Cast

Bill Duke as Mysterious Voice on Phone
Hector Elizondo as Jon Flint
Richard Gere as Self
720p.BLU 1080p.BLU
841.89 MB
1280*720
English
NR
23.976 fps
117 min
P/S N/A / N/A
1.76 GB
1920×1080
English
NR
23.976 fps
117 min
P/S N/A / N/A

Movie Reviews

Reviewed by TheSteelHelmetReturns 7 / 10 / 10

80s suspense film about a gigolo.

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.

Reviewed by jovana-13676 6 / 10 / 10

Fa-fa-fa-fa-fa-fashion

The film looks like a fashion editorial shot by Francesco Scavullo or Guy Bourdin. That's great. But since this is a movie, one expects the leading man to be more than a two dimensional mannequin, which only happens for a second in the balcony scene - you will know when you see it. The character is flat 99% of his screen time which makes his romance with a mature and passionate woman completely unbelievable. You wonder what she sees in him and if he's capable of seeing anything in her. However, the film captures the pre-AIDS era, its aesthetics and lifestyle that we sorely miss.

Reviewed by gridoon2018 6 / 10 / 10

Sleek, shiny, stylish - and shallow

"American Gigolo" has a sleek, smooth, shiny surface - it's one of those movies which stylistically heralded the arrival of a new cinematic decade, the 1980s. But the murder plot is rather weak, and the insights are mostly shallow ("money doesn't equal happiness, but true love does"). Giorgio Moroder's trend-setting score (including the classic "Call Me") is a definite asset, and Richard Gere is ideally cast in the title role - not so much physically (I'll let the ladies decide that), but for his swagger. **1/2 out of 4.

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