Word: schrader
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AMERICAN GIGOLO sizzles in Paul Schrader's panning camera, exuding the noxious odor of a raw, sandy strip of Canadian bacon. Dripping of fat, California oozes like a wet silkscreen across a blank matte, uninhibited, rubber-spun, Midasized. California as a deathly seducer, California as a golden road to Luke's Body Shop, California as a white and fiery sale for polished, antique organs--Schrader takes no chances. He plays fixed checkers, hopping from red to black, focusing where the sun shines. But American Gigolo dies even as a mere California movie because it doesn't know where...
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...
...these issues will eventually have to be resolved, either by other courts or Congress. A 1976 copyright law passed by Congress was partly aimed at the problems raised by such technological innovations as photocopiers and audio tape recorders, but left as many questions open as it answered. Dorothy Schrader, general counsel for the U.S. Copyright Office, points out: "If off-air taping of an entire movie is possible, it has implications for copying a book one copy at a time...
Screenplay by Paul Schrader and Leonard Schrader...
This uneasiness is a common response to films Paul Schrader (Blue Collar, Hardcore) has a hand in. They always begin as intriguing notions, but Schrader is willing to sell out themes, characterization, simple dramatic logic in order to serve up a socko scene or a happy ending. One guesses that here the producer and co-writer started out to make a trendy feminist tract about taking just revenge on male inadequacy, then found that Diane desperately needed humanization. Star and director obliged, but the result is an incoherent mess...