Richard Gere reveals his favorite horror movie in a way that highlights his sophisticated taste: despite his iconic roles in films like “Pretty Woman” and “An Officer and a Gentleman,” Gere finds psychological terror scarier than supernatural horror, naming the 1963 film “The Servant” as his top pick. Discussing his experience while promoting “The Mothman Prophecies,” Gere explained how this classic film unsettled him more deeply than any ghost movie, offering insight into his personal perspective on cinematic fear.
Why Gere’s Suave Image Clashes with Traditional Horror
Known as one of cinema’s most charismatic and debonair stars, often referred to as the quintessential silver fox, Richard Gere has built a remarkable career with roles that exude class and charm. He captivated audiences as the romantic lead opposite Julia Roberts, and made a strong impression in military attire—images far removed from the grim world of traditional horror films. It’s no surprise, then, that his ventures into the horror genre are rare. Aside from his performance in “The Mothman Prophecies,” which even impressed horror icon Stephen King, Gere has typically stayed away from scary movies, making his horror preferences a fresh topic of interest.
The Surprise Choice: Why ‘The Servant’ Troubled Gere So Deeply
Though his filmography isn’t crowded with ghost stories, Gere holds a special appreciation for chilling tales. During an interview with Review Graveyard about “The Mothman Prophecies,” Gere shared that the most frightening film he’d ever seen was not about specters or monsters, but about human psychology: Joseph Losey’s “The Servant.” He remarked on the film’s ability to evoke a sense of terror without resorting to the supernatural, stating,
“The scariest movie I ever saw had no ghost in it and that was The Servant. It was a Joseph Losey film from a Harold Pinter screenplay, and it was the same kind of terror that Mothman deals with: it calls into question the nature of identity. I think that’s scary to everyone.”
—Richard Gere, Actor
The Film’s Story and Acclaim: A Chilling Reflection on Identity
First released in 1963, “The Servant” marked the beginning of several collaborations between director Joseph Losey and playwright Harold Pinter, each celebrated in their craft and recognized by the British Film Institute. The film features Dirk Bogarde as Hugo Barrett, a servant hired by the well-to-do Tony, played by James Fox, to oversee a large estate in Brazil. What starts as a harmonious relationship soon unravels with the involvement of Tony’s girlfriend (Wendy Craig) and Hugo’s mistress (Sarah Miles). The resulting psychological gamesmanship becomes the source of the film’s uneasy tension—a far cry from obvious horror tropes.
While “The Servant” did not emerge as a box office sensation, earning less than £390,000 on a £139,000 budget, its critical reception was overwhelmingly positive. Reviewers lauded Losey’s innovative direction and Pinter’s deeply unsettling script, both of which kept audiences in a state of suspense. Modern critics continue to highlight the film, especially its unique use of camera work and audio design, noting the way these techniques immerse the viewer in the characters’ shifting emotions. Testament to its legacy, the British Film Institute ranked “The Servant” among the top 25 greatest British films, above favorites like “Doctor Zhivago” and “Withnail & I.”
The Creative Forces and Their Timeless Influence
Joseph Losey’s background with German theater legend Bertolt Brecht, alongside Harold Pinter’s mastery of tension and unspoken conflict, combined to create a work that explores the darkest aspects of identity and class. The story, adapted from Robin Maugham’s novel, feels disturbingly real, focusing on relatable vulnerabilities rather than otherworldly threats. These choices shape a brand of horror rooted in psychological manipulation rather than overt fright—a direction that resonates with Gere’s personal fears and wider critical appreciation.
The collaboration between Losey and Pinter drew attention even decades after release, showing how their sophisticated filmmaking remains relevant. While Danny Dyer’s name also emerges in Pinter’s oeuvre, the true focus here is the dynamic artistry between Losey and Pinter, rather than later pop culture links. Their body of work, epitomized by “The Servant,” demonstrates that horror can powerfully reflect back on everyday life and relationships.
Gere’s Refined Taste in Terror
Richard Gere’s choice of “The Servant” as his favorite horror movie underscores his refined approach to filmmaking and storytelling. It’s not surprising that he gravitates toward films that delve into the uncertainty of identity and social roles, rather than superficial scares. Imagining him stepping into the role originally played by James Fox provides a glimpse of how Gere’s signature style could reinvigorate a classic for modern audiences.
Interest in “The Servant” may see renewed momentum as Gere’s endorsement introduces the film to new viewers seeking smart, emotionally charged cinema. As horror movies continue to evolve, Gere’s perspective highlights the lasting impact of stories that unsettle by probing the complex layers of human nature, rather than relying on monsters or ghosts for their fright.
