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American Gigolo poster

American Gigolo

year 1980decade 80sdirector Paul Schrader

117 minutes

Cast

Selected cast credits · Film reference

Richard Gere Julian Kay
Lauren Hutton Michelle Stratton
Hector Elizondo Det. Sunday
Bill Duke Leon Jaimes
Brian Davies Charles Stratton
K. Callan Lisa Williams
Tom Stewart Mr. Rheiman
Patti Carr Judy Rheiman
David Cryer Lt. Curtis
Carole Cook Mrs. Dobrun
Carol Bruce Mrs. Lucille Sloan
Frances Bergen Mrs. Laudner
MacDonald Carey Hollywood actor
William Dozier Michelle's lawyer
Peter Turgeon Julian's lawyer
Robert Wightman Floyd Wicker
Richard Derr Mr. Williams
Gordon Haight Blond boy
Carlo Alfonso Salesman
Frank Pesce Suspect #4
Judith Ransdell Cloak room girl
John Hammerton Perino's maitre d'
Michele Drake 1st girl at beach
Linda Horn 2d girl at beach
Faye Michael Nuell Woman at Juschi's
Eugene Jackson Bootblack
Dawn Adams Coed
Bob Jardine College professor
Harry Davis Parke Bernet representative
Nanette Tarpey Waitress
Maggie Jean Smith Girl at Daisy
Pamela Fong Girl at Daisy
Randy Stokey Boy at Sorel
Harris Weingart Maitre d' cocktail lounge
James Currie Bartender cocktail lounge
Norman Stevans Waiter cocktail lounge
Betty Canter Woman at political dinner
Laura Gile Woman at political dinner
Brent Dunsford Man at political dinner
Barry Satterfield Street hustler
Sam L. Nickens Waiter country club
William Valdez Prison guard
Mary Helen Barro Reporter
John H. Lowe Reporter
Kopi Sotiropulos Reporter
Gordon W. Grant Reporter
Ron Cummins Reporter

American Gigolo | The Rewatchables

host Bill Simmonshost Sean Fennesseyhost Mallory Rubinproducer Craig Horlbeck theme Naughty November
Explore episodeClose episode

What’s Aged the Best?

Style; music; Armani; Mercedes; Los Angeles locations; Lauren Hutton

In the discussion (9)
Approx. transcript time · 00:12:07Read transcript
  • The unexpected combination of Schrader’s style, Gere, Armani, Blondie’s hit and Moroder’s score is credited with the film’s success and influence.
  • The PCH drive in the Mercedes while choosing suits embodies an aspirational American dream and establishes Los Angeles as a character.
  • The film moves among Beverly Hills luxury, Sotheby’s, Sunset Plaza apartments, nightclubs, Malibu and youthful Westwood, capturing both Los Angeles’s attraction and emptiness.
  • The hotel’s booths, lighting and jacket exchange establish a pristine, stylish world Julian inhabits naturally.
  • The Armani brand and overall fashion are praised; a cited 2018 article reports sales growing from 14000 dollars in 1975 to 90000 the next year and 135 million by 1981.
  • Gere’s movement and tailoring make the clothes effective, contrasted with Michelle’s elegance and Sunday’s poor dress; Schrader reportedly stopped filming over wrinkles.
  • The 1979 Mercedes 450 SL is praised as an ideal convertible worth reissuing with modern mechanics, compared with revived sneakers and the Bronco.
  • Malibu, PCH, Malibu Colony, Beverly Hills Hotel, Tower Records in Westwood and Sunset Plaza apartments are praised as a distinctive Los Angeles collection.
  • Perino’s restaurant and its bathroom wallpaper are admired as a lost Los Angeles style.

Apex Mountain

Gigolos; Schrader; Blondie’s general period; gravity boots

In the discussion (15)
Approx. transcript time · 00:12:32Read transcript
  • Blondie receives an early affirmative Apex suggestion in the discussion of the hit song.
  • Gere is initially rejected here in favor of An Officer and a Gentleman.
  • Gere is rejected here in favor of An Officer and a Gentleman, with 1990’s Pretty Woman and Internal Affairs another possible peak.
  • Hutton is rejected here in favor of her 1970s modeling peak; Once Bitten is jokingly dismissed.
  • Gigolos receive an affirmative choice, with Todd Parker’s uncertain status and the Showtime reality series raised as alternatives.
  • Schrader is a probable affirmative choice because this is his biggest hit despite other more celebrated work.
  • Blondie’s general period receives agreement after comparing Heart of Glass, Call Me, The Tide Is High and Rapture; a more specific preference chooses the preceding October’s Saturday Night Live appearance with Steve Martin.
  • Bill Duke is rejected for Apex here.
  • Gravity boots receive an affirmative choice despite their apparent danger.
  • Malibu is considered but left unresolved because too little of the film is set there; Heat and The Big Lebowski are comparisons.
  • The synthesizer-score era is placed at Risky Business rather than this film.
  • Probe is floated without a settled answer, with uncertainty about whether it was a real bar.
  • Male frontal/side nudity is rejected here in favor of Affleck in Gone Girl.
  • Armani is considered a possible peak or springboard, but a 1990 s peak is also suggested without resolution.
  • K Callan is rejected here in favor of Fast Break, where her teacher becomes a supporter of the basketball program.

Most Rewatchable Scene

Opening credits

In the discussion (17)
Approx. transcript time · 00:35:34Read transcript
  • The sexually charged telephone performance while Michelle lies beside an unaroused Julian exposes how easily he switches professional desire on and off.
  • The opening credits combine the 450 SL, Blondie and Armani fitting into an admired sequence, especially driving the PCH.
  • The first Gere–Hutton hotel exchange is praised for its chemistry and frank proposition.
  • The French conversation plays on misunderstandings of language and intention, culminating in the iconic “no, just one fuck” line.
  • The Palm Springs encounter with a married couple is a deliberately strange scene candidate, contrasting Leon’s clients with the madam’s and emphasizing the husband’s creepiness.
  • Julian’s flowing seduction, undressing and touch are admired as intimate choreography before the husband makes the encounter disturbing.
  • Julian laying out clothes and dressing is admired as pure directorial style.
  • The naked monologue about spending three hours giving a neglected woman an orgasm is a scene candidate, expressing his sense of worthwhile work.
  • Julian’s staged nude pose by the blinds makes him seem unusually exposed in his element while explaining his work.
  • The shoeshine confrontation with Detective Sunday is admired as a cat-and-mouse exchange, with Julian insulting the detective’s appearance.
  • Elizondo’s amused reactions make the antagonistic exchange feel like an unexpected bond.
  • The senator’s short confrontation is enjoyed for exposing Julian’s powerlessness and outsider status.
  • The late-night visit to Probe is a scene candidate, its gay-club atmosphere compared with Cruising.
  • Julian tearing apart his apartment and car creates tension and showcases Gere’s anger, with practical objections deferred.
  • Leon explaining the frame-up is a scene candidate; placing the revelation well before the end makes room for an emotional and spiritual conclusion, though another voice dislikes the extended finish.
  • The opening credits receive an explicit choice and agreement, extending into the madam-and-women porch conversation.
  • The morning-after telephone call and breakfast order are another candidate, with Michelle visibly dazed by pleasure and barely able to answer beyond refusing eggs.

What’s Aged the Worst?

Hutton’s concealed tooth gap; limited queer exploration; television adaptation; obvious tailing

In the discussion (4)
Approx. transcript time · 00:49:58Read transcript
  • Concealing Hutton’s tooth gap is criticized because the gap is part of her beauty and individuality.
  • Schrader’s retrospective wish for a more openly gay Julian is discussed alongside his stated interest in gay culture; the further provocation may exceed autobiographical intent.
  • The television adaptation is criticized as overcomplicated and a waste of Bernthal despite an encouraging pilot and appealing prison material; Rosie O’Donnell’s detective is mentioned.
  • The characters’ conspicuously poor attempts to tail one another are criticized.

The Stephen A. Smith Hottest Take Award

Mid-1980s sequel; more sex; Hutton miscast

In the discussion (3)
Approx. transcript time · 01:17:12Read transcript
  • A mid 1980s sequel should revisit an older Julian amid wealth and capitalism after his relationship fails.
  • The movie needs more of Julian’s sexual working life, especially because its first 30 minutes are so riveting before the dramatic tonal turn.
  • Hutton is called a major flaw by one participant.

Sequel, Prequel, Limited Series, or All-Black Remake

Mid-1980s getting-back-in-the-game sequel

In the discussion (1)
Approx. transcript time · 01:40:48Read transcript
  • The television version disappointed, but a mid 1980s sequel showing Julian rebuilding his body, wardrobe and business amid changed sexual norms is enthusiastically preferred.

Just One Oscar

Paul Schrader; Scarfiotti

In the discussion (3)
Approx. transcript time · 01:42:27Read transcript
  • Paul Schrader receives the initial Oscar choices.
  • Scarfiotti is an alternative for designing the film; his nonunion visual-consultant status is said to have prevented an art-direction or production-design nomination.
  • Schrader could have displaced one of the directing nominees: Redford for Ordinary People, Scorsese for Raging Bull, Lynch for The Elephant Man, Rush for The Stunt Man, or Polanski for Tess. First Reformed is recalled as his first nomination.

What Piece of Memorabilia Would You Want From This Movie?

Mercedes; workout kit; suits

In the discussion (3)
Approx. transcript time · 01:47:13Read transcript
  • The Mercedes receives repeated memorabilia choices.
  • The exercise kit—gravity boots, free weights and tiny gray shorts—is another choice.
  • The suits are desired despite a concern that their style is dated and difficult to wear.

The Coach Finstock Award for Best Life Lesson

“The other side will always pay more”; “Take your pleasure when you can”; “I do know a whore when I see one”

In the discussion (3)
Approx. transcript time · 01:47:48Read transcript
  • “The other side will always pay more” is one life-lesson choice.
  • “Take your pleasure when you can” is another life-lesson choice.
  • “I do know a whore when I see one” is the final life-lesson choice.

Who Won the Movie?

In the discussion (3)
Approx. transcript time · 01:48:04Read transcript
  • Gere receives three explicit named choices; choosing him over Schrader is described as difficult.
  • The film launched Gere into superstardom; Moroder and Armani are also considered beneficiaries.
  • Yanks and Days of Heaven established Gere in prestigious smaller films; American Gigolo made him a commercial leading man and an appealing replacement for Travolta in An Officer and a Gentleman.
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