Aprendiz de gigoló

This has all the hallmarks of a Woody Allen metropolitan comedy (with Woody Allen in a lead role) - and John Turturro has written and directed it very much in the style of, say, ANNIE HALL. It's a character-driven morality play about love and sex in the city, with the feel of an upscale repertory company. And it's got Sharon Stone, still just as foxy as when she played Catherine Tramell in BASIC INSTINCT; the notion that a middle-aged man would get paid $1,000 to climb between her sheets is deliciously improbable (and very appealing to this middle-aged viewer).

As we start another summer of CGI-heavy 3D blockbusters, FADING GIGOLO is a welcome return to They-don't-make-movies-like-that-any-more. Luckily, they still do. Great acting, a crisp sophisticated script, smooth direction, a terrific score and a bevy of gorgeous women: 90 minutes of unalloyed joy. Cinema at its best.

Fading Gigolo so easily could be a Rollins & Joffe Production and an Allen film; it has all the sensibilities of Allen's comedies since Manhatten - the sexual confusion, the ennui, the desire for love and romance versus the ambition and instincts.

For this reviewer? I chose to see it as a grown-up romantic comedy, a comedy of errors, where Woody Allen and John Turturo's characters are both opportunistic and weary and the women are both fantasizing and projecting and being fantasized and projected. There is enough complexity and simplicity to really make this a stylish, witty, and enjoyable film.

As a jazz geek the score was superb and throughout Turturro adds little touches that make this film a quiet delight. It may not be a perfect film in that the women are too perfect and the contrasts too broad, but you would have to be mean spirited indeed not to enjoy it. It even has something to say about loneliness rather than lust being the source of sex, and that love, however fleeting, even in New York, can happen.

John Turturro proofed that he can handle a light comedy as an actor as well as a director. It is easy to see how he got Woody Allen to appear in his film because the story could be by Woody Allen himself and the figure Allen plays sounds as familiar as it can be. Even the Jewish neighborhood fits very well.

The movie starts out with no waste of time as a Woody Allen-style comedy without overdoing it. Allen coaxes Turturro, who works in a flower shop to become a hired lover for rich middle aged ladies. They share the money he gets and Allen spends it for the black! family he lives with. This partnership works out pretty fast and quite successful. But then the story does a sudden turn into deeper emotions when Allen connects him with the widow Avigal who is a devoted Jewess who after two years still mourns her dead husband...

Although many scenes begin as a comedy some end on a very touching note. John Turturro knows when it is best to let the audience guess what will come next. Although a bit of a fairy tale story he never completely leaves the bounds of reality, especially in the end of the film. I left the theater with a smile. (seen at the Viennale - Vienna International Film Festival)

Murray's dermatologist tells him she wants a threesome with her girlfriend, and Murray provides the services of his friend, middle aged Fiorovante. The cottage industry of "making lonely women happy" expands to include orthodox Jewish widow Avigal, but she is the object of desire of Neighbourhood Watch operative Dovi. Also, the way people feel towards each other can change.

Written by, directed by, and starring John Turturro as the unlikely gigolo Fiorovante, an ungenerous soul might suggest that this improbable sex-based comedy drama was just an excuse for him to film a nude scene with Sharon Stone. But I quite liked it. It is rather inconsequential, and the character Fiorovante is fairly inexpressive and therefore difficult to identify with. Also, Liev Schreiber's Dovi is quite unlikeable, and the developments involving his character aren't that convincing. But, as Murray, Woody Allen - not one of my favourite actors - delivers what is probably the best performance I have ever seen from him: gentle, wryly humorous, and spilling over with humanity. The trademark Allen tics are all there, but I liked Murray a lot. And Vanessa Paradis as Avigal was luminous.

Despite its improbability, this rather odd little drama with comedy engaged and entertained me.

Woody Allen isn't really an actor for hire. It's just not something he does: if he acts, he generally prefers to do so in films he also writes and directs, largely because - one suspects - he only feels comfortable playing parts that he knows are tailored to his particular strengths. So it's odd and potentially exciting that he agreed to take a rather key role in Fading Gigolo, a passion project for actor-turned-writer-and-director John Turturro. As it turns out, it's easy to see why Allen agreed to join the cast: when the film works, it can be as charmingly quirky, odd and romantic as Allen's own movies. Even when it doesn't work, the cheeky byplay between Allen and Turturro's characters remains a selling point.

The story goes like this: bookseller Murray (Allen) encounters hard times in the bookselling business, and hits upon the novel idea of playing the pimp to his unexpectedly charming friend Fioravante's (Turturro) gigolo. As the business takes off, Fioravante encounters women both adventurous and shy. But, even in the face of such voluptuous and voracious beauties as Dr. Parker (Sharon Stone) and her girlfriend Selima (Sofia Vergara), he's particularly intrigued by Avigal (an intriguing Vanessa Paradis), the buttoned-down widow of an orthodox rabbi who's barely surviving the extremely strict rules and regulations that accompany her husband's death.

There's a lot to enjoy and even love in Turturro's gentle, quaint film. He excels in injecting tenderness into scenes that are practically structured to be awkward, like Fioravante's first encounters with both Dr. Parker and Avigal. But both turn out to be strangely, sweetly tender, as he manages to tap into something primal within both women that they both sorely need. The gentlemanly respect with which Fioravante treats all the ladies brought to him by Murray help the film's slightly out-dated message - women need a man to help them break down the walls that surround their hearts - go down a lot easier.

But Fading Gigolo also veers into considerably less successful territory, chiefly by turning Fioravante and Avigal's relationship into an uncomfortable love triangle with Dovi (Liev Schreiber), an orthodox Jew who serves in the community police force in Avigal's neighbourhood and has loved her from afar for years. There are a couple of fun comedy beats in this romantic entanglement, particularly when Avigal remains determinedly unresponsive towards Dovi's advances. But Turturro's tale takes such an odd left turn at the end that it undermines a lot of Fioravante's own growth within the film, which comes about when he realises just how strong an emotional connection he's forged with Avigal.

Fortunately, the film benefits greatly from the spiky chemistry between Allen and Turturro - their characters spar and tease with words and glances, as Murray talks Fioravante into a business that really doesn't seem to make a whole lot of sense. (It's readily acknowledged that neither of them is a natural fit for their respective roles as pimp and gigolo.) It's not quite enough to completely salvage Fading Gigolo, but the central friendship does survive the script's stranger and less truthful moments, and adds immeasurably to its charm.