American Gigolo is a film directed by Paul Schrader. Richard Gere stars as Julian Kaye, a Los Angeles escort framed for murder. Falling for Michelle, the wife of a famous politician, his lover is the only individual who can give him an alibi when he is arrested.

Although this film is not as acclaimed as Schrader’s ‘Taxi Driver’, if one is considering watching American Gigolo, I would point to Richard Gere’s performance as the primary merit. Kaye is welcomingly mysterious; the sensual lighting helping his attitude to become even more moody. Every outfit he assembles comes together with effortless elegance, resulting in his character being one of the most stylish males I think I have witnessed on screen.

Originally, John Travolta had been offered the role of Julian, but left the project. Interestingly, Meryl Streep was also offered the role of Michelle, but claimed that she did not like the tone of the film. Surprisingly though, the script for Gigolo is not as sleazy as one might think. The storyline itself is rather outrageous, but the film never feels too silly or exploitative. In fact, the film is quite graceful despite its subject.

Gere’s character explores Beverly Hills with a magical soundtrack by Blondie, with access to country clubs and assignments for pimps, but ultimately, even high-class prostitution is unsatisfying for the callboy. He descends into laziness after he is framed, becoming only another man and no longer glamorous or exciting. The way he starts to dress is frowned upon by peers, and he becomes unshaven, only caring to prove his innocence and be with the one who knows that he cares. Most around him do not sympathise, other than Michelle. The murder that he was not capable of completing is also not sympathised, so we can observe this as a very stylish character study of the American gigolo himself. The hopeful, sentimental ending shows the audience what the character really wants, who the character really is.

Following Kaye from contemporary apartment to shady nightclub – he is surprisingly well-shot in often rather unconventional fashions that mirror scenes from Schrader’s earlier classic Taxi Driver. However, American Gigolo does not have the depth of Driver in regards to loneliness, but it is essentially more interested in the shallowness of the characters and how this affects both themselves and their environment.

This was supposedly the first time in a Hollywood film that a star appeared nude full-frontal – and what a great nude scene! Gere creates an attitude of ‘cool’ with his appearance that I do not believe John Travolta would have been dark enough in his attitude or appearance to accomplish.

Although the story of American Gigolo is quite sentimental, the film is a brilliant entertainment, most memorable for its depictions of nightlife as well as Gere as Julian Kaye.