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Julian concludes that Leon and Rheiman are the ones trying to frame him, and that one of Leon's other gigolos was the murderer. Julian goes to confront Leon, telling him the truth and trying to clear his name. Leon refuses to help him and remains implacable. In a fit of rage, Julian pushes Leon from the apartment balcony; although Julian immediately regrets his action and tries to save him, Leon nevertheless falls to his death. With no one to help him, Julian ends up in jail, helplessly awaiting trial for Judy's murder. Michelle reconciles with Julian by telling the police that she was with Julian the night of Judy's murder, sacrificing her reputation and marriage to save him.
But the film \"American Gigolo\" is a stylish and surprisingly poignant handling of this material. The experiences in the film may be alien to us, but the emotions of the characters are not: Julian Kay, the gigolo of the title, is played by Richard Gere as tender, vulnerable, and a little dumb. We care about him. His business -- making love to rich women of a certain age -- allows him to buy the baubles by which Beverly Hills measures success, and he has his Mercedes, his expensive wardrobe, his antique vases, his entr\\gee to country clubs.
Still crazy to think that Paul Schrader and Jerry Bruckheimer made two movies together, but the movies, this and Cat People, do intersect their sensibilities uncannily well. Bruckheimer's trademark gloss mostly complements Schrader's obsessive chronicling of a high-end gigolo's materialistic lifestyle, and Giorgio Morodor's score and John Bailey's neo-noir photography add plenty of ambiance. The plot itself is turgidly executed, but it's certainly fascinating to see Richard Gere strut around like a peacock with his Armani suits and feathered hair.
His story, as it came out after his death, got told in a toxic confluence of tabloid reporting, police assertions, and spinning by the Hollywood establishment. The portrait appalled: hoodlum, blackmailer, bully, gigolo. But the reports were largely uncorroborated and many of them quoted each other in a kind of echo-chamber effect. I remained curious over the years, so recently I went back looking for a true picture of my fellow son of Woodstock. I suppose I secretly hoped to find evidence that an aggressive but basically decent man had been terribly libeled.
\"American Gigolo\" was first written by Rivers Cuomo around February of 2001, and recorded by Weezer at Monster Island Studios on May 27, 2001. Another recording was made during the band's BBC Sessions the following June 23rd. These original recordings portrayed the song in more of a funky vibe. Many fans were later surprised to hear the song evolve into more of a heavy metal riffer as the Maladroit sessions unfolded. Early versions of the song contain lyrics that greatly resemble that of \"Photograph\" (\"If you want it / You can have it...\"), though it is unknown if this is a deliberate allusion. A \"gigolo\" is a male escort or social companion who is supported by a woman in a continuing relationship, often living in her residence or having to be present at her beck and call.  The song's title may have been inspired by the 1980 film of the same name, but this has never been commented on. According to the Recording History, the song shares its chorus with the unreleased song \"I Can't Tell You\", written around the same time and also demoed at Monster Island Studios. 59ce067264