It tells the story of a high-priced escort in Los Angeles (Gere) who becomes romantically involved with a prominent politician's wife (Hutton), while simultaneously becoming the prime suspect in a murder case.

It is also notable for its Golden Globe–nominated musical score, composed by Giorgio Moroder, and number-one single "Call Me" by Blondie.

His job supports and requires an expensive taste in cars and clothes, and affords him a luxury Westwood apartment.

Julian's pimp Leon sends him to Palm Springs on a "substitute" assignment to the house of Mr. Rheiman, a wealthy financier.

The next day, Julian berates Leon for sending him to a "rough trick" and makes it clear he declines kinky or gay assignments.

His clothes become rumpled, he goes unshaven and drives a cheap rental car (after painstakingly searching his Mercedes and finding Judy's jewelry that was planted in it to frame him).

"[7] John Travolta was originally attached to the lead role, with his casting announced by the Los Angeles Times in January 1978.

[1] Travolta was provided a wardrobe by Giorgio Armani and appeared in a photo spread for the trade publication Variety announcing his participation.

[12] In 2012, Gere said he was drawn to the role partly because of its gay subtext, commenting, I read it and I thought, 'This is a character I don't know very well.

[13]Julie Christie was originally cast in the role of Michelle Stratton but her departure was precipitated by Gere's replacement of Travolta.

[27][28] The film is widely credited to have established the Giorgio Armani brand in Hollywood because the Italian designer's clothes are featured prominently in Julian Kay's wardrobe.

The song was written by Moroder and Blondie vocalist Debbie Harry, and became a huge worldwide success in 1980.

[31] Roger Ebert gave the film 3.5 stars out of 4, writing, "The whole movie has a winning sadness about it; take away the story's sensational aspects and what you have is a study in loneliness.

"[32] Gene Siskel of the Chicago Tribune also awarded 3.5 stars out of 4 and called it "an honest, compelling drama that sheds a little light in some beguilingly dark places.

"[33] Vincent Canby of The New York Times wrote in a negative review that writer-director Schrader "is awfully good at establishing inarticulate, unknowing, self-deluding characters, but he's much less effective when it comes to shepherding these characters through the contingencies of the melodrama that is supposed to ennoble them or, at least, to reveal their unsuspected moral resources.

"[34] Variety faulted the film for an "evasiveness at its core", finding a "moral and emotional ambivalence" in Gere's character "which makes caring about his predicament and ultimate fate difficult.

The website's consensus reads: "While Paul Schrader's clinical direction and Richard Gere's muted performance don't stir much passion, American Gigolo succeeds as a stylish character study.