If you haven’t read part 1 yet – it is here.
Day 15 – Pretty Woman, 1990. Since many people has seen this movie, we can all acknowledge that this is a vehicle for Julia Roberts. She is truly effervescent, charming and irresistible as the long legged prostitute who breaches the wall erected by Gere, who is in good form as a calculating, smooth, unemotional billionaire with a soft spot for her brash honesty and sweetness. It’s a throwback to another era and we have all evolved, but you can’t deny it’s a lot of fun. An exposé of the sordid underbelly of prostitution it is not. It was wildly popular, and this crowd-pleasing film hits all the hoary, cliched, sentimental hot spots — prostitute with the heart of gold and love conquers all. MUSIC NOTE: Gere composed and performed the piano theme.
Directed by Garry Marshall.
Day 16 – Rhapsody in August, 1991. This slow-moving, beautifully filmed, but difficult-to-obtain movie is a quantum leap from the glossiness of Pretty Woman. It was made as an anti-war statement, and was criticized for being too one-sided in its focus on the Japanese point of view. It appears that was the intent and perspective of the director, to reveal the impact of the Nagasaki bombing for Japanese audiences. The grandmother, played by Sachiko Murase, is a complex, intense character, and Gere plays the Japanese-American nephew with subtlety. The story itself is simple, and the interaction between the four grandchildren, their parents and the grandmother is revealing. There are some arresting visual scenes illustrating the atomic bombing of Nagasaki, and the last scene is unforgettable. LANGUAGE NOTE: Gere speaks some Japanese.
Directed by Akira Kurasawa. RECOMMEND.
Day 17 – Final Analysis, 1992. Two troubled sisters (Kim Basinger and Uma Thurman) play cat and mouse with San Francisco psychiatrist Gere in a complex and gripping Hitchcockian thriller. There is a deserted lighthouse, and an actual phenomenon called “pathological intoxication.” Apparently, Basinger goes berserk after even the tiniest amount of alcohol touches her lips. Thurman is Gere’s patient, and I can say no more — except for the fact that Eric Roberts is Basinger’s Greek mobster husband.
Directed by Phil Joanou.
Day 18 – Mr. Jones, 1993. This is a showcase for Gere as he alternates between manic and depressive behavior, and the ethical questions of transference and counter-transference come into play. With great skill, Lena Olin plays his conflicted psychiatrist who is entranced and seduced by his intensity. From a roof walking escapade, to an Ode to Joy performance, to a medicated stupor, Gere captures the despair and extreme high of bipolar disorder. Anne Bancroft, Tom Irwin and Delroy Lindo have strong supporting roles. MUSIC NOTE: Gere plays the piano, and also dances to James Brown’s I Feel Good.
Directed by Mike Figgis. RECOMMEND.
Day 19 – Sommersby, 1993. A post-Civil War version of The Return of Martin Guerre, Vigne’s 1982 film starring Depardieu, which is itself based on a 16th century true story of imposture, the Jodie Foster/Gere love affair is believable, well acted, and sexy. Foster’s performance is unusually fine and intelligent, Gere is passionate in his role, and Bill Pullman is convincing as the spurned and vengeful farmer. The questions that arise regarding Foster’s acceptance of the man she knows is not her husband indicate her need to be loved by a man much more honorable and loving than her real husband. The ensuing trial overseen by judge James Earl Jones requires a certain suspension of disbelief, but conforms to the true outcome of the trial.
Directed by John Amiel. RECOMMEND.
Day 20 – Intersection, 1994. With its stunning array of dull characters, this movie fails to generate any interest or sympathy. Gere and a grim Sharon Stone are a separated husband and wife and partners in an architecture firm, Lolita Davidovich (a columnist), is Gere’s new (and inexplicable) love, and Martin Landau is Gere’s associate whose platitudes only annoy. They move through their parts via an interminable series of flashbacks that contribute to the incoherence of the movie, but which forward the story line to the, mercifully, final conclusion. In another life, this movie, adapted from the 1967 novel by Guimard’s Les Choses de la Vie, and then Sautel’s 1970 movie, could have been interesting.
Directed by Mark Rydell.
Day 21 – First Knight, 1995. Gere is seriously miscast as Lancelot, a smoldering ruffian with an American accent, in this version of the Camelot legend. Normally, I love costume dramas, but the medieval villages are too clean and the Camelot distance shot looks utterly fake. Julia Ormond as Guinevere is dewey and lovely, Sean Connery as King Arthur is James Bond in robes, and John Gielgud as Guinevere’s adviser is under-used. There are an interestingly photographed night battle, some clever sword fights, and an amazingly deadly medieval obstacle course which Lancelot, of course, navigates to perfection. HISTORICAL NOTE: My brother and expert in all things medieval pointed out that the armor was 15th century, not the late 5th or 6th century when King Arthur supposedly reigned after the Romans abandoned Britain.
Directed by Jerry Zucker.
Day 22- Primal Fear, 1996. Edward Norton shines in his first movie role as a baby faced altar boy now murder suspect. Gere is the urbane, slick, ruthless defense attorney who is battling an equally ruthless state prosecuting attorney, a former girlfriend, in the courtroom. Gere employs some of his usual tricks — the laugh, the seductive smile, the clenched, strong jaw — but this is a role he can play in his sleep. Laura Linney is effective as a tough, smart opponent, as are a fine supporting cast with Frances McDormand, Steven Bauer, John Mahoney and Alfre Woodard.
Directed by Gregory Hoblit. RECOMMEND.
Day 23- The Jackal, 1997. You can never be too careful if you are the world’s foremost assassin, but I found Bruce Willis’s frequent disguises unwittingly comical. It is a remake of the ’73 movie, The Day of the Jackal, and the plot works as a tense and entertaining thriller, but is not as good as I remember the original to have been. Gere’s take on an youthful ex-IRA sniper is fresh and sensitive, and his Irish accent is convincing. Sidney Poitier’s character as the deputy head of the FBI is sympathetic, and Diane Venora is splendid as the Russian intelligence officer assisting him. The inexplicable subway appearance of Gere’s old lover, Mathilda May (a Basque separatist), just in the nick of time can only be attributed to wishful thinking or error.
Directed by Michael Caton-Jones.
Day 24 – Red Corner, 1997. This time Gere is an urbane, competent attorney for a television entertainment entity who is trying to close a deal with the Chinese. He ends up in a Chinese prison after being framed for the murder of the daughter (Jessey Meng) of a high ranking general whom he picks up in a bar. Defended by an eloquent Bai Ling, a Cultural Revolution survivor who undergoes a personal transformation during the trial, Gere is effective. The contrived plot is less so, but it is still an interesting thriller. I’m not sure how accurately the Chinese political, legal and prison system is portrayed here, but the contrast is stark in comparison to our western system. Gere’s denunciation of China for human rights abuses and its treatment of Tibet is well known, and this is a harsh and well-timed condemnation. Filmed in LA, the re-creation of a Chinese neighborhood and other sets is fabulous. MUSIC NOTE: Gere plays the piano with HANDCUFFS ON. LANGUAGE NOTE: Gere speaks some Chinese.
Directed by Jon Avnet. RECOMMEND.
Day 25 – Runaway Bride, 1999. Teaming up with Julia Roberts is a sweet reunion, perhaps, but the movie’s basically inane dialogue and plot made me squirm — a woman who keeps on jilting her would-be husbands finally makes the leap, and with none other than Richard Gere! Joan Cusack, Laurie Metcalf, Rita Wilson, Paul Dooley, Hector Elizondo and others contribute. Since half the world saw this movie, I need not comment further. MUSIC NOTE: Gere plays the piano, and composed and performed the guitar solo.
Directed by Garry Marshall.
Day 26 – Dr. T & the Women, 2000. I don’t know what universe these all-blonde and utterly vapid women live in, but it’s no wonder sweet, clueless Dr. T, a popular ob-gyn, is losing his mind, only wants to play golf, and takes up with a reasonably straightforward Helen Hunt. Gere’s role in this turgid comedy is that of a man who transcends the chaos as stoical and kindly to a fault, and he does this in an out-of-character relaxed and gentle manner, but it is a silly movie without being funny — just tiresome and irritating. And the “Hestia Complex” from which Gere’s wife, Farrah Fawcett, suffers is a rare movie invention. There is no need to look it up. We also suffer through her unfathomable and awful performance. There is a strong supporting cast with Kate Hudson, Tara Reid, Laura Dern, Shelly Long,and Liv Tyler, but they struggle to make anything out of their roles.
Directed by Robert Altman.
Day 27 – Autumn in New York, 2000. Gere is at his most glamorous in this role of womanizing restaurateur who finally falls in love with a much younger, dying woman (a winsome Winona Rider). The construct of an older but attractive, wealthy, and influential man with a younger woman is never questioned, although vanity, and fragile egos are part of that contract. The twenty-six year age disparity is implied with the usual musical and humor references. In real life, the lack of mutual cultural sign posts frequently results in an intellectual quagmire, but not so in this love story, and the movie is not helped by the uninspired, saccharine script and lackadaisical chemistry between the two. The ethical questions which come into play are predictable. Elaine Stritch and Anthony LaPaglia conspire to move the plot toward the obvious conclusion. Despite myself, I did spill a few tears, but then I cried during Bambi.
Directed by Joan Chen.
Day 28- The Mothman Prophecies, 2002. This is based on an actual event — the 1967 collapse of the Silver Bridge in Pt. Pleasant, West Va. — and a number of unverified myths and tall tales. Gere is a reporter investigating some of these rumors after the mysterious death of his wife. Laura Linney is a cop who collaborates with Gere in trying to hunt down the many supernatural events which litter this movie. I liked watching Gere and Linney, and an eccentric performance by Alan Bates as a wacky physicist, but was less than taken with the paranormal elements of the story.
Directed by Mark Pellington.
Day 29- Unfaithful, 2002. An atmospheric tour de force based on Claude Chabrol’s La Femme Infidel, this film is an erotic study that focuses on behavior rather than on underlying psychology. Diane Lane is nothing short of subtle perfection as a woman consumed by desire. Gere’s performance as her loving, successful businessman husband, is somber and nuanced. Oliviez Martinez, Lane’s lover, is a convincingly dashing and acrobatic libertine/bookseller. Gere becomes increasingly suspicious of his wife’s behavior as her lies start to trip her up, and unfortunate run-ins with friends and business associates begin to reveal the subterfuge. She, however, can’t help herself, and the dramatic conclusion results in their mutual conspiracy and renewed love. MUSIC NOTE: 1. Ali Farka Toure’s song Ai du is used most effectively during a seduction scene. 2. Gere co-wrote and co-performed the song, Piano Lesson.
Directed by Adrian Lyne. RECOMMEND.
Day 30 – Chicago, 2002. This was adapted from Bob Fosse’s musical version of prohibition Chicago, and the movie’s song and dance numbers are spectacular, with an outstanding Catherine Zeta-Jones in full vamp mode. Gere plays a greedy, sleazy lawyer whose forte is freeing female murderesses for a substantial fee. Catherine Zeta-Jones has murdered her sister and husband, Renee Zellweger has murdered her lover, George C. Reilly is Zellweger’s hapless husband, and Queen Latifa is the prison matron. Not known as a dancer or singer, Zellweger manages to keep up, but I found it difficult to avoid focusing on her poofy mouth. If you like musicals, this one is particularly well staged and entertaining. MUSIC NOTE: Gere tap dances and sings.
Directed by Rob Marshall. RECOMMEND.
Day 31 – Shall We Dance?, 2004. Inspired by a popular 1996 Japanese movie, this is a thoroughly enjoyable romantic yarn. Gere is a bored lawyer who catches a glimpse of Jennifer Lopez in the upper window of a dance studio on his train ride home. His infatuation leads him to the studio, dance lessons, and some poignant encounters with Lopez. His faithful wife, Susan Sarandon, suspecting that all is not well hires a private detective to find out what’s happening (rather than asking him). The best parts are when Gere and Lopez demonstrate their dancing chops and chemistry. The loose secondary story line is less successful. It’s not Casablanca, but it is entertaining in these dark times.
Directed by Peter Chelsom.
Day 32 – Bee Season, 2005. This was adapted from the book by Myla Goldberg (which I didn’t read); the movie is a brave, offbeat attempt to dissect the interpersonal relationships of a family. Gere is the intelligent, oblivious and domineering father, a Berkeley professor of Judaism and the Kabbalah, Juliet Binoche, his wife, is a scientist and a shoplifter, and the son, Max Minghella is a rebellious musician. The daughter, wonderfully played by Flora Cross, is unaccomplished until she starts winning spelling bees through a mysterious and divine gift. Gere’s interest in his family extends to their success as a reflection of himself, but everyone is separate from the other. There is an intelligent attempt to discuss the workings of spirituality but it is confusing and doesn’t always work. MUSIC NOTE: Gere plays the violin.
Directed by Scott McGehee and David Siegel. RECOMMEND.
Day 33- The Hoax, 2006. Gere lets loose with a brilliant, compelling portrayal of Clifford Irving as a charming, fast talking con man who betrays even his wife and best friend in an effort to swindle his publishers, make money and gain prominence. In a complicated scheme, Irving convinced McGraw-Hill Publishing Co. in 1971 that he was authorized to write Howard Hughes’s biography. It is a fascinating picture of a man consumed by envy and the desire for fame. Alfred Molina as Irving’s friend, Marcia Gay Harden as his wife, Julie Delpy as his girlfriend (Nina Van Pallandt), and Stanley Tucci participate in this suspenseful story.
Directed by Lasse Hallstrom. RECOMMEND.
Day 34 – The Hunting Party, 2007. I suppose you could try to make a grimly sardonic movie about the slaughter of Muslims during the 1992-1995 Bosnian War, and the seeming reluctance of the NATO-led peace keepers (64,000 of them) and various US special forces and intelligence services to actually capture Karadzic (captured in 2008) or Mladic (captured in 2011), but the attempt to intersperse comic elements into the action and dialogue falls absolutely flat. Very loosely based on an Esquire article written in 2000 by journalist, Scott Anderson, Gere is occasionally believable as a tortured, hard-drinking, cynical, and weirdly wacky reporter. Terrence Howard is his buddy and cameraman from the bad old days and they’re joined by Jesse Eisenberg who plays the role of neophyte legacy reporter well. This could have been a serious, straightforward thriller about the attempted capture of Karadzic, instead of a fairy tale with a redemptive, karmic ending. LANGUAGE NOTE: Gere speaks some Bosnian.
Directed by Richard Shepard
Part 3 is here.