You ever wonder when the 1980s actually started? Most people point to New Year's Day, but if you're looking at the soul of the decade—the clothes, the coldness, the obsession with mirrors—it really began on February 1, 1980. That was the day Richard Gere walked onto the screen in American Gigolo.
He wasn't just an actor playing a part. He was a shift in the tectonic plates of pop culture.
Before this movie, Richard Gere was a rising name, sure. But after? He was the man every guy wanted to be and every woman wanted to be with. It sounds like a cliché, but for Julian Kaye, the high-priced escort he played, it was a literal job description.
The Wardrobe That Launched a Thousand Suits
Let’s talk about the clothes. Honestly, you can't talk about Richard Gere in American Gigolo without talking about Giorgio Armani.
At the time, Armani was barely known in the United States. He was just some Italian guy making "unstructured" jackets. Paul Schrader, the director, wanted a specific look. He wanted Julian Kaye to look like he didn't just wear clothes—he lived in them.
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The scene where Gere lays out his shirts and ties on the bed while singing "The Love I Saw in You Is Just a Mirage" is basically the first modern music video for fashion. It’s hypnotic.
Armani stripped out the heavy padding. He took away the stiff linings that made 1970s suits look like armor. Suddenly, men’s fashion was soft. It was fluid. It was, well, sexy.
- The Palette: Earthy tones, linens, and light wools replaced the loud polyesters of the previous decade.
- The Fit: Shoulders were dropped. Everything felt relaxed but impossibly expensive.
- The Impact: Department stores couldn't keep "Armani-style" suits on the shelves.
It Almost Wasn't Richard Gere
This is the part that usually shocks people. Richard Gere wasn't the first choice. Not even the second.
John Travolta was the guy. He was signed, sealed, and delivered. He even went to Milan for fittings! There’s a world out there where Tony Manero is the world’s most famous gigolo. But Travolta pulled out at the last minute. Some say it was because his mother was ill; others say he didn't like the "European" tone.
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Then came Christopher Reeve. He was fresh off Superman and had the "All-American" look. But he turned down a million dollars because he didn't like the script. Chevy Chase was even in the mix for a minute. Can you imagine?
Schrader eventually went back to his first choice. Gere had two weeks to prep. He didn't speak the languages the script required. He didn't even own a suit.
A Study in Loneliness (With a Killer Soundtrack)
While everyone remembers the sex and the suits, American Gigolo is actually a pretty depressing movie. It’s a "neo-noir" about a guy who is great at giving pleasure but has no idea how to receive it.
Julian Kaye is a surface. He spends his mornings doing gravity-boot workouts and his nights entertaining the lonely wives of Beverly Hills.
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Why the Movie Still Feels Modern
- The Music: Giorgio Moroder’s synth-heavy score is iconic. And Blondie’s "Call Me"? That song was literally written for the film after Stevie Nicks turned it down. It’s the pulse of the movie.
- The Nudity: It was one of the first major Hollywood films to feature full-frontal male nudity from a lead star. It wasn't even in the script. Gere and Schrader just felt it made sense for the character’s vulnerability.
- The Ending: It’s a direct lift from Robert Bresson’s Pickpocket. It’s about spiritual grace, not just a murder mystery.
People often mistake this for a "trashy" movie. It isn't. It’s a cold, calculated look at how we sell ourselves.
The Legacy of Julian Kaye
Basically, Gere created a blueprint. The "look" of the 80s—the slicked-back hair, the way a jacket sleeve is pushed up, the distant, cool gaze—it all starts here.
If you watch Miami Vice or American Psycho, you’re seeing the DNA of American Gigolo. Julian Kaye was the first "metrosexual" before the word existed.
What You Should Do Next
If you haven't seen it in a while, or ever, go back and watch the 1980 original. Don't worry about the 2022 TV series yet. Start with the source.
- Pay attention to the architecture: The film uses Los Angeles and Palm Springs as characters. The stark, modern lines reflect Julian's own emptiness.
- Listen to the silence: Schrader uses quiet moments better than almost anyone.
- Watch Gere's movement: He doesn't walk; he prowls. It’s a masterclass in physical acting.
The movie isn't just a time capsule. It’s a warning about what happens when you value the package more than what's inside. But man, what a package it was.
Actionable Insight: For a deeper dive into the "Schrader Style," watch Taxi Driver and Light Sleeper back-to-back with American Gigolo. You'll see the evolution of the "man in a room" trope that has defined American independent cinema for forty years.