American Gigolo

1980
R
1h 57m

IMDb RATING

6.3/10

30K

YOUR RATING

Play trailer1:55

1 Video

99 Photos

Steamy Romance Crime Drama Mystery Romance Thriller

A Los Angeles escort is accused of a murder which he did not commit.A Los Angeles escort is accused of a murder which he did not commit.A Los Angeles escort is accused of a murder which he did not commit.

See production info at IMDbPro

IMDb RATING

6.3/10

30K

YOUR RATING

See production info at IMDbPro

Awards
- 2 nominations

Videos1

Trailer 1:55

American Gigolo

Photos146

138

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Storyline

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Did you know

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Trivia
Reportedly, one of the reasons John Travolta turned the film down was because he wanted final cut approval but director Paul Schrader would not give it to him. Travolta allegedly kept the Armani suits especially tailor-made for him in the film. The picture is one of at least four films that Gere has done after Travolta had turned them down, the others being Chicago (2002), Days of Heaven (1978), and An Officer and a Gentleman (1982).

Goofs
At 17:12, the helicopter carrying the camera is clearly reflected just above the right rear wheel of the Mercedes.

Quotes
Julian Kaye: Why me? Why did you pick me?
Leon: Because you were framable. You've stepped on too many toes. Nobody ever cared about you. I never even liked you much myself.

Alternate versions
ABC edited 21 minutes from this film for its 1983 network television premiere.

Connections
Featured in Sneak Previews: Being There/The Fog/Chapter Two/American Gigolo/Fatso (1980)

Soundtracks
The Love I Saw in You Is Just a Mirage
by Smokey Robinson (as W. Robinson) and Marvin Tarplin (as M. Tarplin)
Performed by Smokey Robinson & The Miracles (as Smokey Robinson and The Miracles)
Courtesy of Motown Records

User reviews112

Review

Featured review

7/10

A Stylish Morality Play

Richard Gere is perfectly cast in the role of decadent but vulnerable male gigolo cum prostitute who is framed for a murder he didn't commit. His emotional entanglement with a married woman (Lauren Hutton) is believable, but the film is above all a dissection of the emptiness of the kind of stylish materialism which was to become such a hallmark of cosmopolitan lifestyle in the 80's. Like many such morality tales, though, the superficial attractiveness of the 'style' as a way of life is liable to lead some to embrace rather than reject it as a way of bringing excitement into their lives. In any event, a stylish piece of cinema.