Just a Gigolo Blu-ray Review

The Blu-ray presentation of "Just a Gigolo" is a mixed bag in terms of video quality, providing an adequate, albeit flawed, viewing experience. The AVC encoded image is presented in a 1.85:1 aspect ratio, which deviates from the likely original 1.66:1 for this European film production made in the Seventies. The High Definition transfer appears to have been derived from a telecine film transfer using average elements, resulting in a picture that often resembles transfers from a decade ago. While there is passable resolution and clarity, the film direly needs a fresh color correction to improve contrast and vibrancy.

Grain reproduction in the 1080P presentation is notably problematic, appearing clumpy and occasionally blocky, which detracts from achieving a film-like quality. Unfortunately, blacks come off with a milkier appearance, affecting scenes set in evening events and formal attire, which lose their depth and luster. Colors are satisfactory, reflecting the period fashion of 1920s Germany and the occasional cinematic flair, though exterior scenes possess colder hues.

The film’s source elements are in commendable condition with just minor flappy hairs and light scratches, devoid of significant blemishes or major flaws. The lack of overt video processing and ringing is a plus, contributing to a mostly natural presentation despite the persistent grain issues and slightly washed-out visuals. It's an improvement over previous DVD releases, showcasing more texture and detail, but it falls short of being a definitive transfer for this David Bowie cult classic. For an upgrade to work seamlessly in contemporary home theaters, this disc would benefit greatly from an extensive restoration effort focusing on color correction and better grain management.

The 2.0 DTS-HD MA audio presentation of "Just a Gigolo" exhibits characteristics indicative of its age, with a mild hiss permeating the listening experience. Dialogue exchanges, although benefiting from dubbed clarity to ensure the preservation of story information, lack the crispness one might expect. While the music in this period piece manages to set appropriate moods with piano and orchestral elements, it unfortunately lacks precision and richness.

The original monaural mix imposes its limitations on the 2.0 DTS-HD MA soundtrack, resulting in an overall lackluster audio experience. Dialogue reproduction tends to be spotty with a thin top-end, detracting from the potential clarity and engagement of the narrative. The music fares slightly better, offering a hint of robust quality, yet the dated nature of the recordings is nonetheless evident. Optional English SDH subtitles are available, displaying in a white font to aid in understanding dialogue nuances.

The extras included with the Blu-ray release of "Just a Gigolo" provide valuable insights into the film's production and reception. The 32-page booklet features production notes from Joshua Sinclair along with an article by Graham Rinaldi, providing detailed context for the film. The audio commentary by Rory MacLean, who served as the assistant to director David Hemmings, offers a candid perspective on the behind-the-scenes dynamics, although it lacks spontaneity due to its scripted nature. Complementing this, the 28-minute "Making Of" featurette includes comprehensive interviews with Sinclair and MacLean, delving into casting decisions, particularly David Bowie’s involvement and Marlene Dietrich's contentious return to Germany. Additionally, this featurette discusses the film’s reception in Germany, which was notably negative due to its portrayal of Nazi life. The theatrical trailer rounds out the extras, offering a glimpse of the movie's original promotional efforts.

Extras included in this disc:

• Booklet: Production notes from Joshua Sinclair and an article by Graham Rinaldi.
• Commentary: Rory MacLean provides insights into the filming, albeit with a scripted feel.
• Making Of "Just a Gigolo": Interviews with Joshua Sinclair and Rory MacLean covering production challenges and casting stories.
• Theatrical Trailer: Original promotional trailer for the film.

David Hemmings' "Just a Gigolo" (1978), starring David Bowie in his second lead role, is often remembered for its disjointed storytelling and uneven tone. While the film ambitiously aims to depict post-World War I Berlin through the experiences of Paul von Przygodski (Bowie), a Prussian soldier struggling to find his place in a radically changed society, it ultimately falls short of expectations. The screenplay tracks Paul's journey through various dramatic, romantic, and political landscapes but suffers from a lack of coherent direction, leading to a generally confusing narrative.

The cast is notable, featuring screen legends like Marlene Dietrich in her final performance as a gigolo service proprietor, and other stars like Sydne Rome, Kim Novak, David Hemmings, and Maria Schell. Despite the star power, the film underdelivers in both its satirical and dramatic ambitions. While Bowie delivers a respectable performance given his inexperience, Hemmings' direction places an undue burden on the music icon, who struggles with the character's complexities. Adding to the film's unevenness are musical elements, with Bowie contributing the rare "Revolutionary Song" and Dietrich performing a rendition of "Just a Gigolo," yet these musical interludes fail to rescue the film from its narrative inconsistencies.

In essence, "Just a Gigolo" may appeal to die-hard David Bowie fans curious about his early film efforts or those interested in post-war Berlin depictions. However, its meandering pace, uneven tonal shifts, and half-baked satire make it less compelling as a standalone cinematic experience. The film’s ambitious vision is undercut by ineffective execution, resulting in a viewing experience that feels more like a collection of incongruent parts rather than a cohesive story.

Just a Gigolo" presents an intriguing yet uneven blend of historical context, star power, and directorial ambition. The film, directed by David Hemmings and starring David Bowie, features post-war Berlin as its backdrop, providing a visually compelling setting that simultaneously reflects the fractured narratives of its characters. Noteworthy is Marlene Dietrich's final screen performance, adding a layer of cinematic history that will inevitably attract film historians and dedicated fans.

The Blu Ray release of "Just a Gigolo" offers solid technical delivery. The visual transfer showcases the film's period-specific detail with enough clarity to appreciate the production design, though occasional softness detracts from the overall presentation. Sound-wise, the track maintains decent fidelity, ensuring dialogue and musical interludes are delivered with adequate warmth and clarity. While the supplementary materials include interviews and historical context that enrich our understanding of the film’s ambitious yet flawed execution, the package might feel sparse for those expecting more comprehensive insight or additional features.

David Bowie takes on the lead role with a certain detachment, seemingly aware of the production's tonal inconsistencies. His performance is understated, allowing the viewer to focus on supporting actors such as Kim Novak and Curd Jurgens. Despite a few engaging moments, the film struggles to find its emotional footing, leaving much of Bowie's effort feeling more like a passive presence than an anchor for the story's chaotic progression. Thus, "Just a Gigolo" emerges more as an artifact of curiosity rather than cohesive storytelling.

While not without its charm, "Just a Gigolo" is likely to appeal primarily to Bowie enthusiasts and cinema historians interested in both his filmography and Dietrich’s swansong. The muddled narrative and inconsistent tone mean it isn't a must-see for the average viewer but holds enough unique elements to merit attention from dedicated aficionados.