Julian makes a lucrative living as an escort to older women in the Los Angeles area. He begins a relationship with Michelle, a local politician's wife, without expecting any pay. One of his... See full summary »
A drug dealer with upscale clientele is having moral problems going about his daily deliveries. A reformed addict, he has never gotten over the wife that left him, and the couple that use ... See full summary »
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Julian makes a lucrative living as an escort to older women in the Los Angeles area. He begins a relationship with Michelle, a local politician's wife, without expecting any pay. One of his clients is murdered and Detective Sunday begins pumping him for details on his different clients, something he is reluctant to do considering the nature of his work. Julian begins to suspect he's being framed. Meanwhile Michelle begins to fall in love with him. Written by
Ed Sutton <firstname.lastname@example.org>
John Travolta turned down the lead role (which went to Richard Gere). Reportedly, one of the reasons Travolta turned it down was because he wanted final cut and director Paul Schrader would not give it to him. Another reason that has been promulgated was the nudity content, Travolta having a "no nudity" policy. 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). See more »
When Julian Kay is talking on the phone to Jill to see if he has any messages, he is told that Michelle has left him one, shortly after that, he says to Jill "Tell her to meet me at Perinos," but instead of telling Jill to let Michelle know what to time to meet him there, he puts the phone down. See more »
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.
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