Set in the early 60's, this film resembles a series of perfume commercials with the horsy-faced heroine always the centre of attention as she sweeps about in black evening dress, cane in hand as people constantly call out her name (which, inevitably, is also endlessly repeated in the title song).
5 Reviews
Time wasting
pinkrabbi1 August 2011
The leading actress, Louou Doillon, was born in the French movie industry. Despite the fact she looks absolutely devoid of talent. Predictable scenario coupled with poor acting and incomprehensible actions of the characters make this movie extremely boring and could be interesting, possible, only for lesbians, who have absolutely nothing to do. Оnly Thierry Lermit in a small role оf a father can remind the viewer of French cinema, where the "Gigola" sought, but did not get. Do not waste your time and money.
If you would like to see powerful story about same sex relationship - take "Gia", or "Bound"(1996).
If you would like to see powerful story about same sex relationship - take "Gia", or "Bound"(1996).
Gigola, a woman coming into her own in the Parisian nightlife of the 1960's..
HollywoodGlee11 October 2016
Reviewed by Larry Gleeson. Gigola, directed by Laure Charpentier is a French film with subtitles set in the early 1960's Paris containing themes of adult sexuality and gender issues. The film made it's debut at the Cannes Film Festival. From there Gigola was shown at the Hamburg Film Festival in Germany and finished out the year at the Paris Gay & Lesbian Film Festival, in Paris, France. The mise-en-scene is in Gigola is remarkable. The costumes, make-up, and lighting are spectacular conveying images reminiscent of "That's Entertainment (1974), and "Moulon Rouge" (2001).
The film opens with a teenage school girl named George, played by Lou Dillon, as a young and slender coming of age debutante, and her teacher, an attractive mid 30ish woman. Playful background music provides energy for a highly sexually charged sensual transaction between George and her teacher.
Charpentier jumps ahead to 1963 Paris nightlife scene. George's boy friend has committed suicide. George has decided to withdraw from school and announces to the night-time partiers that she has flunked out of medical school seemingly intentionally.
Next time we see George she is in a Parisian bistro and we are introduced to a Carol Channing like character. George has reinvented herself.
A comment is made to George, "You look like a gigolo." George coolly replies, "Gigola." We now see George as Gigola, the name she has given her new self. A well-to-do matron comes to the bistro and Gigola is into action. Dressed in a black tuxedo, Gigola escorts the matron onto the dance floor for a spin. Soon the pair leave the bistro together and head to the matron's estate. With grace, elegance and a touch of class Gigola seduces the matron in an erotic bedroom scene with a snake-headed cane and white gloves.
Gigola, if nothing else, knows what she wants and she goes after it. She threatens to leave her new found matron unless she receives more money. The matron has already given Gigola a signet ring and a red MG convertible. The matron capitulates handing over to Gigola a large cache of currency. We now witness Gigola expanding her "business" with new girls working under her discretion.
Meanwhile, Gigola's father, an opium addict, is squandering away the family's estate as he cogently leads the life of a Parisian gentlemen. Eventually Gigola confronts her father brandishing a loaded revolver after repeatedly warning her father to stay away and, in turn, pleading with her mother to cut him off.
After an attempted suicide, Gigola finds herself under the care of a psychiatrist who bears a striking resemblance to her former teacher. She suggests having a baby to Gigola. Gigola is less than optimistic but the psychiatrist is able to connect with Gigola. Never one to miss an opportunity, Gigola deftly makes clear her intentions to the attractive psychiatrist. When the psychiatrist makes a "house call" Charpentier uses a wrestling take down move to portray the mixed emotions the psychiatrist has - she is attracted to Gigola but she is married and lives according to her principles as a married woman - a defining characteristic of the times. The psychiatrist cares about Gigola and they have dinner together where she tells Gigola that Gigola needs to let go.
Again without missing a beat Gigola moves deeper into the nightclub scene in Paris meeting a Mr. Tony Pasquale, a Sicilian. The two gain a mutual respect for each other and Tony ends up impregnating Gigola. Gigola has the baby and it seems as though Gigola has accepted normalcy and is conforming to societal norms. Gigola has left and George has come back.
However, before a sigh of relief can be expressed, in tromps the cast from the bistro. A raucous scene ensues in the hospital room with Gigola consenting to have her locks cut - a symbol of Gigola's re-emergence.
The film closes with Gigola adhering to her somewhat circular, misguided idealism. She has turned over the care of her child to her mother and she is shown in tuxedo walking down a Parisian cobblestone alley way with her back back to the camera just before sunrise.
Amazing film for the right audience.
The film opens with a teenage school girl named George, played by Lou Dillon, as a young and slender coming of age debutante, and her teacher, an attractive mid 30ish woman. Playful background music provides energy for a highly sexually charged sensual transaction between George and her teacher.
Charpentier jumps ahead to 1963 Paris nightlife scene. George's boy friend has committed suicide. George has decided to withdraw from school and announces to the night-time partiers that she has flunked out of medical school seemingly intentionally.
Next time we see George she is in a Parisian bistro and we are introduced to a Carol Channing like character. George has reinvented herself.
A comment is made to George, "You look like a gigolo." George coolly replies, "Gigola." We now see George as Gigola, the name she has given her new self. A well-to-do matron comes to the bistro and Gigola is into action. Dressed in a black tuxedo, Gigola escorts the matron onto the dance floor for a spin. Soon the pair leave the bistro together and head to the matron's estate. With grace, elegance and a touch of class Gigola seduces the matron in an erotic bedroom scene with a snake-headed cane and white gloves.
Gigola, if nothing else, knows what she wants and she goes after it. She threatens to leave her new found matron unless she receives more money. The matron has already given Gigola a signet ring and a red MG convertible. The matron capitulates handing over to Gigola a large cache of currency. We now witness Gigola expanding her "business" with new girls working under her discretion.
Meanwhile, Gigola's father, an opium addict, is squandering away the family's estate as he cogently leads the life of a Parisian gentlemen. Eventually Gigola confronts her father brandishing a loaded revolver after repeatedly warning her father to stay away and, in turn, pleading with her mother to cut him off.
After an attempted suicide, Gigola finds herself under the care of a psychiatrist who bears a striking resemblance to her former teacher. She suggests having a baby to Gigola. Gigola is less than optimistic but the psychiatrist is able to connect with Gigola. Never one to miss an opportunity, Gigola deftly makes clear her intentions to the attractive psychiatrist. When the psychiatrist makes a "house call" Charpentier uses a wrestling take down move to portray the mixed emotions the psychiatrist has - she is attracted to Gigola but she is married and lives according to her principles as a married woman - a defining characteristic of the times. The psychiatrist cares about Gigola and they have dinner together where she tells Gigola that Gigola needs to let go.
Again without missing a beat Gigola moves deeper into the nightclub scene in Paris meeting a Mr. Tony Pasquale, a Sicilian. The two gain a mutual respect for each other and Tony ends up impregnating Gigola. Gigola has the baby and it seems as though Gigola has accepted normalcy and is conforming to societal norms. Gigola has left and George has come back.
However, before a sigh of relief can be expressed, in tromps the cast from the bistro. A raucous scene ensues in the hospital room with Gigola consenting to have her locks cut - a symbol of Gigola's re-emergence.
The film closes with Gigola adhering to her somewhat circular, misguided idealism. She has turned over the care of her child to her mother and she is shown in tuxedo walking down a Parisian cobblestone alley way with her back back to the camera just before sunrise.
Amazing film for the right audience.
60s lesbian pulp fiction
michellelocke00716 November 2011
based on the long-censored novel by Laure charpentier and finally brought to the big screen and directed by the author as well. Lou Dillon stars as the titular character and she suited the role exquisitely. the move is set in the 1960s lesbian underworld of Paris, and the way she carries herself to her mannerisms and strut she is every bit the refined young man she portrays. Dillon relishes the character that she plays and looks every bit the part of gigolo who spends her evenings wandering through the lesbian nightclubs and cabarets flirting and ca noodling with potential suitors. gigolo eventually begins a relationship with a wealthy, older aristocrat by the name of Odette who lavishes gigolo with money and a sports car in return for sexual favours. that saying, the sex/love scenes which there are plenty of are not particularly graphic and are tastefully shot. i found the storyline a bit too fast paced and scenes were quickly cut off before moving onto the next one. one needs to be fairly quick when reading the subtitles and understanding what is going on in the storyline. i liked the musical numbers and the classy feel and look inside the nightclubs and how everyone took part in the festivities and were not ashamed of being openly lesbian or gay. an interesting piece of cinema for people looking for something different.
The existing taboo is in the rating!
mmunier23 August 2012
I did record this movie on my home system but did not watch it for a long time. However I did last night and was quite amazed, and despite all I seem to know about myself I liked it. I too needed to watch the subtitles although French is my natural language, between the two I managed to cruise with the story. I thought it was very worth while watching and was truly entertained. I disagreed about the acting ability of the main character but understand it's to each its own. Whether we like it or not this side of the world is a reality, perhaps a sad reality but I did not feel that the movie was trying to glorify it, if anything it gave an even break to the so called weaker gender. To me it portrayed how complex human being can be. Here we have a bright person who could have been successful in almost anything but especially the field of medicine. Instead life events orientate her in a world entirely different and at the other spectrum of her early philanthropic aspirations. The ending tells us about how our choices can be like flipping a coin up in the air and on what sides it will remain once returned to the ground. 5.2 out of ten was the present rating (of which I usually abstain) I honestly think it deserves more.
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