“ I don’t want to be a personality.” —Gere*

Although Richard Gere needs no introduction, it is interesting that such a long career has not resulted in more recognition than the Theatre World Award for his portrayal of a homosexual Holocaust victim in "Bent" (a 1980 Broadway show) and the dubious honor of being named People magazine's "Sexiest Man Alive" in 1999. In all fairness, Gere has done much that deserves acknowledgment, starting with the lead role in the now-classic "American Gigolo" which made him a star. The sheer volume of his work is impressive, yet the projects he has been involved in vary greatly in not only overall quality, but also in the caliber of Gere's own contribution. Frankly, some of his performances — such as that in "First Knight," "Sommersby" (1993), and "Runaway Bride" (1999) - have been unremarkable, to put it kindly. Others — "Internal Affairs" (1990) and "Red Corner" (1997) — can be characterized as solid, and some even extraordinary ("Mr. Jones" (1993)). This isn't all that unusual in such a huge body of work, where the truly great moments are overshadowed by a volume of mediocrity. Yet it is indisputable that Gere has delivered greatness, and more than once. "American Gigolo" aside, my personal favorite was his portrayal of Vincent Eastman in "Intersection" (1994). In a plot which seems deceptively simple, Gere's character tries to make sense of a love triangle, but the issues raised by the film go much deeper: The film is a contemplation of the forever-elusive meaning of life from one man's perspective, and Gere's performance is deep, convincing, and utterly brilliant. It is, of course, helped by the Oscar-nominated director Mark Rydell (known for his sentimentality) and by being "stuck" between Sharon Stone and Lolita Davidovich (highly likely many a man's wet dream), but it is Gere that makes this particular film totally absorbing.