There is something fascinating about Richard Gere when he steps away from the romantic hero and becomes a man we should probably despise. In Arbitrage (2012), directed by Nicholas Jarecki, he delivers a compelling performance as Robert Miller, a wealthy financier whose elegance and confidence conceal a deeply unscrupulous character.
At the height of his maturity, Gere is still incredibly charming, sophisticated and magnetic. But here, that charm becomes a weapon.
A man who believes everything has a price
Robert Miller appears to have it all: an immense fortune, a luxurious mansion, a successful business empire and a beautiful family. He is preparing to sell his company, hoping to complete the deal before anyone discovers the financial fraud he has carefully concealed.
His wife, Ellen, played by the wonderful Susan Sarandon, stands beside him as the elegant and devoted partner of a powerful man. Their daughter Brooke, portrayed by Brit Marling, works in the family business and sees her father as a successful businessman she can trust. Yet Robert has deceived them both. And then there is Julie Côte, played by the stunning Laetitia Casta, his young mistress and an art dealer whose gallery he has helped finance. Julie represents another world of luxury, desire and secrecy—a world Robert believes he can control just like everything else in his life. The exceptional cast also includes Tim Rothas Detective Michael Bryer, the determined investigator closing in on Robert, and Nate Parker as Jimmy Grant, a man from Robert’s past who becomes entangled in his desperate attempt to escape the consequences of his actions.
The man without a conscience
What I find particularly interesting about this film is Robert Miller’s complete conviction that he can buy his way out of anything. He lies, manipulates and betrays the people closest to him, always calculating the next move. His wealth has made him arrogant, and his success has convinced him that ordinary rules do not apply to him.
Gere plays him without asking us to excuse his behaviour. He is smooth, intelligent and utterly unscrupulous, yet his natural charisma makes it difficult to look away. That is the beauty of the performance: we know exactly what kind of man Robert is, but we remain fascinated by him.
The confrontation that changes everything
One of the film’s most powerful scenes comes when Ellen finally confronts Robert. She has long known about his infidelities, and she has tolerated them, perhaps because she understood the unspoken rules of their marriage. But discovering the extent of his financial deception is something entirely different. Robert has not only endangered his fortune and reputation; he has also put their daughter Brooke’s future at risk by making her unknowingly complicit in his fraudulent business dealings.
Ellen is furious. She confronts him about the double life he has led, the lies he has told and the price others may have to pay for his ambition. Then she places a separation agreement before him. The document would transfer ownership and voting rights to the Miller Charitable Foundation, to be administered by Brooke. In exchange, Ellen is prepared to provide him with an alibi for the night of the fatal accident involving his mistress. If he refuses to sign, she will no longer protect him from the police.
For the first time, Robert faces someone he cannot simply charm, manipulate or silence. He protests, becomes angry and accuses her of blackmail. But Ellen stands her ground. She knows that he has crossed a line by risking their daughter’s future, and she is no longer willing to play the loyal wife who keeps his secrets.
For me, this is an extraordinary moment of acting from both Richard Gere and Susan Sarandon. Gere allows us to see the cracks appearing in Robert’s polished armour: the disbelief, the rage and the dawning realisation that he may finally have met his match. Sarandon is equally remarkable, portraying a woman whose dignity and restrained fury make her more formidable than any detective.
It is a battle between two people who know each other intimately, and that makes it far more devastating than a simple confrontation between husband and wife. Ellen understands Robert’s weaknesses because she has lived beside him for years. And this time, she has found the one thing he cannot afford to lose: control over his own destiny.
The final irony is that Robert may still preserve his public image and complete the business deal, but the price is a marriage transformed forever. His wife has made it clear that her loyalty is no longer unconditional, and his daughter’s trust has already been shattered.
The ending: has he really won?
The film ends without giving us a neat resolution. Robert smiles as he prepares to speak, and the screen fades to black. Has he won? Financially, perhaps. Morally and emotionally, the victory is far less convincing.
My view
I have to admit it: Robert Miller is an adorable rogue, and he has won me over. Not because I approve of his behaviour, but because Richard Gere makes this arrogant, calculating man so irresistibly watchable. His charm is dangerous, his smile hides a thousand calculations, and his elegance makes even his worst decisions strangely fascinating. It is another reminder of how compelling Gere can be when he dares to play a man who is anything but a hero.
