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While a beach-set scene also capped off the first version of Gigli, there was still a good deal of movie left to go at this point, during which a number of the plot and character points left dangling in the release cut are resolved.
While a beach-set scene also capped off the first version of Gigli, there was still a good deal of movie left to go at this point, during which a number of the plot and character points left dangling in the release cut are resolved.
- Martin Brest
- 3 min
- Overview
- Synopsis
- Release
is a 2003 American black comedy crime film written and directed by Martin Brest and starring Ben Affleck, Jennifer Lopez, Justin Bartha, Al Pacino, Christopher Walken, and Lainie Kazan.
It is also a revamped version of Gigli as the theatrical one (being a romantic comedy) was considered one of the worst movies ever made.
Although some scenes (such as the detour to Larry's mother's house) originally lasted longer, the film plays more or less the same up to Al Pacino's cameo as mob boss Starkman, with the core trio of Larry, Ricki and Brian coming together in the exact same way, and Larry and Ricki sparring until she boldly declares "it's turkey time." One subtle adjustment, however, makes a difference. In the release version, the first real indication that Larry has any inclination toward leaving the criminal life behind comes late in the film, in a scene where he and Ricki talk in his car the morning after they consummate and right before the meeting with Starkman. Larry tells Ricki about his dream of finding "a clean place," and this revelation seems to come a bit out of nowhere, almost as a last-minute twist to send Larry on the road to Hollywoodized redemption.
In the original cut, however, Larry's desire to leave the mob grind is established far earlier and much clearly, mere moments after the opening scene in the laundromat; we see Larry close his eyes and visualize this "clean place"--shown on screen as a pristine tropical beach overlooking an impossibly clear ocean. So when he finally makes mention of the "clean place" to Ricki, the audience knows exactly what he's talking about. Also, this once-recurring thread gives Larry a stronger link to Brian, as they are both--though Larry fails to recognize it--in a sense searching for "The Baywatch," thus turning what may seem like a cheap TV/pop culture reference into something a little more meaningful. Not long after the scene with Starkman comes the scene with Larry, Ricki and Brian driving by the Baywatch, which, much to Brian's delight, is "open"--and after this point the two Giglis veer in wildly different directions. In the release version, the three then stop at the beach; Larry makes arrangements to return Brian home; Brian joins some sort of music video shoot on the beach and meets the Aussie girl of his dreams; Larry lets Ricki take his car to escape to parts unknown--only to have her return and pick him up, and the two leave Los Angeles and a life of crime. Fade out; credits.
While a beach-set scene also capped off the first version of Gigli, there was still a good deal of movie left to go at this point, during which a number of the plot and character points left dangling in the release cut are resolved. A number of points are resolved in a scene immediately after this first pass by the Baywatch. Larry pulls the car over by the side of a road, and Ricki finally comes clean to Larry, no doubt due to the violent scene at Starkman's place. She reveals that her real name is Rochelle, and she actually isn't a contractor--which then follows through on a number of points made earlier in the film: (1) during their first meet, Larry tells her that he hadn't seen her around before and didn't look like a contractor; and (2) Ricki's insistence on talking her way out of sticky situations, namely the confrontation with thugs at the fast food stand and the meeting at Starkman's. Ricki goes on to reveal that the actual hitwoman was her girlfriend Robin, whose single-scene appearance barging into Larry's apartment and slashing her wrists is rather bewildering without this payoff. She and Robin had some relationship problems, and as an escape Rochelle tried to taste what Robin's life was like, and hence her showing up on Larry's doorstep. Since she was role-playing, Ricki's "fence-jumping" with Larry makes more sense, as perhaps she did it because it was something she thought Robin would do; even "turkey time" makes more sense, as it was perhaps Rochelle's misbegotten idea of "tough" speak.
But now having had her taste and then some after seeing Starkman kill Larry's higher-up Louis right in front of them, Rochelle tries to get Larry to pick up and leave with her. He declines, and so Rochelle takes her things and leaves him and Brian in the car. Rochelle is never again seen or heard from for the rest of the film; at the end there's no friendly reunion, let alone a lovey-dovey one. Not only does the loss of this scene harm the film from a basic story perspective, it also does a disservice to Lopez's performance. The entire crux of the character is in this scene, and, indeed, it is Lopez's finest moment in the film. With its deletion, what's left is a performance that can understandably be criticized as being an overly soft, less-than-convincing portrayal of a mob enforcer--because, after all, Ricki was originally conceived and performed as never being an actual one. With Ricki/Rochelle gone, Larry decides to do the right thing and turn Brian in to Christopher Walken's cop character, Jacobellis, whose role was substantially larger than the cameo that now remains. The two meet up in a warehouse, where Jacobellis, in another showy Walken speech, reveals that he has been working for Starkman all along--thus showing to Larry that even the apparent good guys in this world are also corrupt. There's gunplay, and Larry ends up shooting Jacobellis dead. However, Larry catches a bullet himself, square in the gut.
This original cut of Gigli opened to a mixed reception, but critics urged that the movie was an immense improvement over the other-panned version. It was a minor box office success, grossing around $97.2 million against its original $54 million budget.
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- Georgia May
For films which are primarily set on beaches or have significant footage set on a beach which forms a major part of the film. It should not be for any film which ever had a beach scene in it. It should not be for any film which ever had a beach scene in it.
The Beach Episode or Pool Episode is, simply put, an episode where the cast decided to take a break and go to the beach or a swimming pool for some wet and splashy fun. Often combined with or immediately following a Recap Episode, in a lot of shows, the Beach Episode generally exists solely for the purpose of getting the cast into bathing suits ...
