Word: gere
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...Richard Gere is the American gigolo, a gorgeous man whose labia-lipped half-smile can turn on a hydrant at 40 paces. A prostitute, a hairy, hunky whore, he slinks from bed to bed, selling orgasms by the bushel. Tanned like a sowhide wallet, he hides behind Annie Hall sunglasses and a wardrobe of pertly collared shirts, thin neckties and sharp jackets, always trim, cut, trained. He steps on the balls of his feet, his hips leading his chest, for single older women who want it. He has trained brains, he knows antiques, he has more than Looking Good...
...Gere isn't beautiful all the time, however, His character is a dip, moreover--slow, thoughtless, imbecilic, lacking personality and the ability to muster emotion. Schrader cast Poor Richard as a giant, swaggering, vending-machine penis, the only item Frederick's of Hollywood doesn't carry, a French tickler with batteries. Self-indulgent, he takes more time choosing an outfit than he does kissing Lauren Hutton to a silly-faced plateau of pleasure. Rarely can he park his 450 SEL without it lurching forward as he jumps out. He picks up women in foreign languages, yet he speaks French like...
Dachau: 1936. The sun is hellish. Two men in prison garb stand in front of an electrified fence. Max (Richard Gere) and Horst (David Dukes) must carry heavy rocks from one side of the prison yard to the other, drop them in a pile and then carry them back. This task of inspired idiocy is designed not only to break their bodies but to crush their minds and spirits. Their crime: being homosexuals...
...survival, the deep need and sustaining force of human affection in dire adversity and the taxing journey to the root core of one's identity. The play at Manhattan's New Apollo Theater achieves these ends, thanks in part to an arresting performance by Film Actor Gere (Looking for Mr. Goodbar, Yanks). Even greater thanks are due David Dukes for his extraordinarily intuitive portrayal of Horst, a man rounded up by the state for having signed a petition demanding rights for "queers." To put this in proper historical perspective, some of the earliest Nazi party stalwarts were distinctly...
Throughout the play, Gere handles the shadings of emotion superbly, especially in a scene in which he and Dukes stand several feet apart, not facing each other, and go through an explicit verbal depiction of oral sex all the way to its climax. Bent is not "entertainment" as the word is customarily used, but in its tensile strength and nervy risk taking, it is audacious theater.-T.E. Kalem