The most believable thing about “Fading Gigolo” is that two aging, Jewish movie stars have the ability to be funny together. The chemistry between renowned director Woody Allen and acclaimed actor John Turturro is really the only detail a film of this sort needs to market for a comedy-itching audience to flock to it.
Unfortunately, that chemistry is built upon the groundwork of a hideous amount of implausibility. Turturro’s fifth directorial effort, “Fading Gigolo” puts little to no effort into explaining the crazy logic that surrounds its premise from beginning to end, mostly hoping that viewers will just come along for the ride, not wishing to relate to it – because they won’t.
Though as confusing as it may be, “Fading Gigolo” has no trouble getting straight to the point. Its opening scene, a discussion between florist Fioravante (Turturro) and his best friend Murray (Allen) about both of their declining economic states, spontaneously throws in Murray’s vulgar proposition: His dermatologist, Dr. Parker (Sharon Stone), is looking for a male escort. Naturally, she asks the honest-faced Murray if he knows anyone that fits the bill.
And again, naturally, Murray tells her that Fioravante is the perfect man for the job and does this kind of thing for a living. After light consideration of how much money they would make together, Fioravante accepts his new role as a gigolo, with Murray as his oddly talented pimp. Together, they roam the streets of Brooklyn, spreading their brand and satisfying women, including Dr. Parker and her bisexual partner Selima (Sofía Vergara), who are obsessed with the idea of having a threesome.
Lo and behold, the absurdity doesn’t stop with one of the most blessed ménage à trois encounters in cinematic history, which brings about at least a few entertainingly awkward scenes. The main conflict of the film kicks in with Fioravante’s introduction to Avigal (Vanessa Paradis), a Hasidic widow who is looking for relief from her husband’s memory. She is avidly followed by Dovi (Liev Schreiber), a member of the Hasidic neighborhood watch, suspicious about the group’s contemptible activities.
Where Turturro’s talent as a writer and director plummets into the realm of questionability, some of the scenes between himself and Paradis are emotionally touching, providing valuable dramatic essence for a movie in need of it. Turturro is still a respectable actor, and his fearless portrayal of a man with extreme talents is effective in situations both playful and deeply serious.
Likewise, Allen is a more talented director than actor, but that isn’t to say that he doesn’t occasionally hit it where it counts. Like his rare previous acting performances in films by other filmmakers, Allen is best when presenting his own style of comedy, usually filled with one-liner shtick and personable improvisation. He gets little opportunity to shine as a solo act here, but makes the best of his adorable attention-grabbing persona.
“Fading Gigolo” has so much heart and good spirit within that it remains passable, a shadow of works that an earlier Allen could have written, and might have been considered good enough to run with. But under the guidance of Turturro, it only feels desperate, reinforcing a soulful love plot with outlandishly casual encounters.
The movie suggests that an actor like Vergara would pay top dollar for a sexual experience with Turturro, portrayed as a buff, perfect specimen of man, now in his late 50s. It’s cute, and it’s sincere, but is it worth the ridiculous vulgarity? Turturro seems to think so – but maybe we shouldn’t be trusting a Brooklyn gigolo.