“A slick Los Angeles callboy finds love and redemption in Paul Schrader’s ultra-stylish drama. High-living prostitute Julian Kay (Richard Gere) has it all: the Mercedes, the clothes, access to Beverly Hills’ swankiest establishments, and a stable of rich, older female clients. But it all falls apart after he does a favor for his former pimp and the trick turns up dead a short while later; Julian’s actual client won’t give him an alibi, and police detective Sunday (Hector Elizondo) doesn’t believe the gigolo’s denials. The one person who can help him is frustrated politician’s wife (and sole non-paying bedmate) Michelle (Hutton), if only Julian could let down his defenses and accept her gesture of love. Mixing his admiration for European art cinema with a voyeuristic view of the seamier side of sex and affluence, Schrader renders Julian an inscrutable, emotionally disengaged purveyor of pleasure…American Gigolo surprised everyone by not dying on the box office vine. With some audiences reportedly showing up for repeat viewings of Gere’s seductive charms, it became a moderate hit, turning Gere into a star and Armani into the new fashion sensation,” (Lucia Bozzola, Rovi) “but the moving last shot (which owes much to Robert Bresson’s Pickpocket), achieves a sense of spiritual transcendence and grace rare in American movies. The film can be seen as the flip side of Taxi Driver (which Schrader wrote); it’s also a virtual compendium of ’80s music, fashion, and pop-culture symbols, as well as a vivid portrait of the era’s chic Hollywood decadence, starting with Giorgio Moroder’s throbbing synthesizer score and Blondie singing “Call Me” as Julian cruises LA in his Mercedes convertible.”—TV Guide