Lauren Hutton Movies

Time for Love, aka New Kind of Love, was the pilot for an unsold anthology series. The throughline of the anthology was to have been "Opposites Attract," to which many viewers added, "Yeah? And then what?" The two stories comprising the pilot both trod the tired old "Shy and Nonshy" route. In one story, conservative junior executive John Davidson falls for swinging convention hostess Lauren Hutton. In the other, timid teacher Bonnie Bedelia is enchanted by rock star Chris Mitchum, who is trying to escape his screaming fans. Time for Love was the brainchild of Stirling Silliphant, one of the most prolific and successful writers of TV's so-called Golden Age. ~ Hal Erickson, All Movie Guide

A slick Los Angeles callboy finds love and redemption in Paul Schrader's ultra-stylish drama. High-living prostitute Julian Kay (Richard Gere, stepping in for John Travolta) has it all: the Mercedes, the clothes, access to Beverly Hills' swankiest establishments, and a stable of rich, older female clients. But it all falls apart after he does a favor for his former pimp (Bill Duke) and the trick turns up dead a short while later; Julian's actual client won't give him an alibi, and police detective Sunday (Hector Elizondo) doesn't believe the gigolo's denials. The one person who can help him is frustrated politician's wife (and sole non-paying bedmate) Michelle (Lauren Hutton), if only Julian could let down his defenses and accept her gesture of love. Mixing his admiration for European art cinema with a voyeuristic view of the seamier side of sex and affluence, Schrader renders Julian an inscrutable, emotionally disengaged purveyor of pleasure, decked out in Giorgio Armani clothes coordinated with Ferdinando Scarfiotti's meticulous production design. Amid critical doubts about its artiness and distanced eroticism, American Gigolo surprised everyone by not dying on the box office vine. With some audiences reportedly showing up for repeat viewings of Gere's seductive charms, it became a moderate hit, turning Gere into a star and Armani into the new fashion sensation. Whatever reservations one may have about the movie, it provided two indelible images of 1980s decadence to come: Gere's perusing his "artist's palette" of shirts, ties, and jackets, and Gere's cruising down the Pacific Coast Highway in his convertible to the New Wave strains of Blondie's "Call Me". ~ Lucia Bozzola, All Movie Guide

This biographical documentary on author and eccentric William S. Burroughs (Naked Lunch), founder of the Beat Generation literary movement along with Jack Kerouac and Allen Ginsberg, is roughly divided into two segments. The first part has some witty scenes as the camera follows the author around to his various early haunts in the U.S., London, and Morocco. His friends are interviewed, including an interesting segment with Allen Ginsberg. In the second half of the film Burroughs becomes more of an exhibitionist than a subject, suggesting that discretionary editing would have made a smaller but better final version. ~ Eleanor Mannikka, All Movie Guide

This made-for-TV message drama presents the dangers of cocaine addiction as it follows one man's descent from successful real estate salesman and father, to red-eyed, runny nosed, coke head. ~ Sandra Brennan, All Movie Guide

This version of Hans Christian Andersen's story was produced for Faerie Tale Theatre. It is the story of a young maiden who bravely faces the fearsome ice-hearted Snow Queen in order to free her beloved. ~ Sandra Brennan, All Movie Guide

Also known as A Certain Desire, this French murder melodrama stars Sam Waterston and Marisa Berenson. Waterston plays Gerry Morrison, an Interpol agent assigned to solve the murder of a Bordeaux wine heiress. Jeanne Barnac Berenson is one of the suspects, who in the course of the investigation is revealed to be a lesbian, in love with the widowed Marlene Bell-Ferguson (Lauren Hutton). Pretty soon, Morrison has exposed virtually all the secrets of those closest to the murder victim. Indeed, with so much else going on, the solution of the mystery is almost an afterthought. ~ Hal Erickson, All Movie Guide

Made for television, From Here to Maternity is an hour-long satire on 1980s self-involvement. The three ladies who are "with child" in the story have mixed feeling about their pregnant state. Part of the problem lies in their husbands and/or boyfriends, who aren't prepared for the responsibilities of fatherhood. Carrie Fisher, Arleen Sorkin and Lauren Hutton are the women in question. Among the clueless male characters are the ever-reliable Griffin Dunne and TV-star-to-be Paul Reiser. ~ Hal Erickson, All Movie Guide

Having created the character of Gator McKlusky in 1973's White Lightning, Burt Reynolds reprises the role in the appropriately titled Gator. Once again, ex-convict McKluskey is strong-armed into helping the feds nab a dangerous criminal, who turns out to be an old high-school chum (Jerry Reed). He is aided and abetted by TV reporter Aggie Maybank (Lauren Hutton) and comedy-relief FBI agent Irving Greenfield (Jack Weston). Talk-show host Mike Douglas makes his film debut as a Jimmy Carter-style governor. ~ Hal Erickson, All Movie Guide

Clothilde de Watteville (Lauren Hutton) is compared to "Hecate," a three-headed Greek fertility goddess and a protector of witches who came to be associated with Persphone and Hades. Clothilde/Hecate runs into Julien Rochelle (Bernard Giraudeau), a very young French diplomat in north Africa just before the outbreak of World War II and the two have a casual sexual encounter that leads to another such meeting, and another. His interest in her and his curiosity are heightened when she refuses to reveal any information about herself, and when she disappears for stretches at a time without any explanation. As his sexual passions increase at a par with his frustration at her behavior, he gives up trying to relate at all and walks out of the relationship. A few years later they meet at a diplomatic reception in Berne, the diplomat is older and perhaps wiser, but Clothilde's behavior is an inexplicable as ever. ~ Eleanor Mannikka, All Movie Guide

Love, sex, fidelity, and the nearly endless variety of complications they can bring are played for laughs in this sophisticated comedy. Alan (Robert Mailhouse) is driving home on a dark and rainy night when he sees an attractive woman standing by the side of the road. He stops and offers her a ride; she accepts and immediately offers him fellatio for his troubles. Though Alan is married and has never cheated on his wife, he's not sure how to say no in this instance, but he doesn't get much of a chance to enjoy infidelity before he's interrupted by the police -- who inform him he's picked up a prostitute and he's under arrest. Several days later, Alan is trying to figure out how to get his wife Laura (Alison Eastwood) to take him back. His buddies Danny (Jonathan Silverman) and Brent (William Ragsdale) chide him for his naivete and advise him to stick by the old rationalization that oral sex isn't really sex. Meanwhile, Laura heads out for a night on the town with her friends Ally (Kimberly Williams) and Terianne (Jessica Lundy). Laura is thinking that adulterous turnabout might be fair play, Ally is mulling over her secret fantasy of becoming an exotic dancer, and Terianne is looking for a man who can help her with her problems in reaching an orgasm. The supporting cast includes Lauren Hutton as Laura's mother. ~ Mark Deming, All Movie Guide

Little Fauss (Michael J. Pollard) and Halsy Knox (Robert Redford) are competing motorcycle racers who form an unusual partnership. The pompous and arrogant Halsy agrees to race under Fauss' name while Fauss serves as his mechanic. Rita (Lauren Hutton) is the rich girl recovering from drugs who catches the eyes of both men. She chooses Halsy and eventually has a child by him after he halts his sexual pit stops with the racetrack floozies. Later, Rita bails out and returns to the sheltered environment of her wealthy parents in elite Palm Springs. Little Fauss and Big Halsy pair off in a race for a big prize. All events are witnessed by the lecherous photographer (Ray Ballard). An excellent musical soundtrack has Johnny Cash singing his own songs, one written by Bob Dylan, and another by Carl Perkins, who also sings one of his self-penned tunes. ~ Dan Pavlides, All Movie Guide

A lifelong cycle of abuse reaches a shocking climax for a woman who has suffered at the hands of men for far too long in this emotionally devastating tale from filmmaker Jean-Marc Vallée. Ever since she was a little girl, Lily (Laurel Holloman) has been stuck in what seems like a never-ending series of abusive relationships. From the icy scorn of her tyrannical father to the callous men she chooses to date as a grown woman, every man in Lily's life has treated her with the same sense of distain and cruelty. When Lily falls hard for playboy Tim's (Andy Davoli) seductive charm, it comes as no surprise that the thoughtless womanizer treats her much the same as the other men in her past, and not even Lily's best friend, Kilo (Rachel Robinson), can convince her that Tim is a wolf in sheep's clothing. When Tim's abuse goes too far, however, Lily finally snaps, swearing vengeance upon the two men who have taken so much pleasure in her suffering. ~ Jason Buchanan, All Movie Guide