I’ve only seen a fraction of the films of actor Richard Gere. I’ve missed some iconic roles. These are what I HAVE seen, all in cinemas, and none of them since the initial viewing:
Looking for Mr. Goodbar (1977) – this starred Diane Keaton as a school teacher Theresa trying to overcome her repressed upbringing and her body issues by going out to clubs. Gere is Tony, a controlling jerk who turns her on to cocaine. Keaton received the Best Actress Oscar that year for Annie Hall, but I’ve long thought it was the range of the two roles that won her the award.
An Officer and a Gentleman (1982) – a directionless Zack (Gere) has to work hard to get through Naval Officer Candidate School, with a tough Gunnery Sergeant (Louis Gossett Jr.) pushing him and his new girlfriend Paula (Debra Winger) supporting him. I remember mostly the sergeant running Zack ragged, and that last scene where Zack in his Navy whites scoops up Paula from a factory floor. Schmaltzy, if I recall correctly, but I enjoyed it anyway.
LISTEN TO Up Where We Belong – Joe Cocker and Jennifer Warnes
Pretty Woman (1990) – I saw this at the Madison Theater in Albany; there was a lengthy line. Apparently, the story of the businessman Edward meeting prostitute Vivian (Julia Roberts) was supposed to be darker. Vivian was supposed to be coming off a cocaine addiction. But director Garry Marshall went a different way. Improbable, but I enjoyed it at the time.
LISTEN to Oh, Pretty Woman – Roy Orbison
Runaway Bride (1999) – “A reporter is assigned to write a story about a woman who has left a string of fiances at the altar.” If Pretty Woman worked with the team of Ricard Gere, Julia Roberts, and Garry Marshall, this should too, right? Well, no. It was flat and generally unfunny.
Chicago (2002) – A movie that’s the exception to the rule that the musical film is dead. I liked it quite a bit, and in particular, Gere’s slimy lawyer Billy Flynn.
LISTEN to Gere in Razzle Dazzle and We Both Reached For the Gun
The Second Best Exotic Marigold Hotel (2015) – a sequel definitely inferior to the 2012 original. Yet the latter film was passingly enjoyable, enhanced by the addition of Gere’s character, Guy Chambers