Word: adjani
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...reality only by two left feet. With visions of Simon and Garfunkel galumphing through their minds, the Rogers and Clarke duo have been sent by their agent to try out their new lounge act -- as far out of town as possible. In Ishtar, they get muddled up with Isabelle Adjani, whom they both mistake for a boy at first; a CIA operative (Charles Grodin) who is not nearly so smooth a counterrevolutionary as he thinks he is; and a blind camel that provides the film with its best running -- actually stumbling...
...much fun with Beatty and Hoffman that she seems to forget that there's anyone else in the cast. Isabelle Adjani plays Shirra Assel, a member of the Communist insurgant group which opposes the government of Ishtar. Both Rodgers and Clark fall in love with her, though it's hard to tell why. She isn't around very much and her character is pretty silly. At one point, she flashes her breasts in the middle of and airport to prove she's a woman (doesn't everyone?), and although we're supposed to believe she's devoted to the revolution...
While Dustin Hoffman, Warren Beatty and Isabelle Adjani are filming Ishtar in New York City, everyone has taken a vow of silence. In the circumstances, this may have made more sense than taking a vow of poverty or chastity, but it put the rumor mill into overdrive. Worst was the word that the breathtaking Adjani was playing a young man. Such casting would have been a high offense against Gallic gifts, as Adjani proved anew in a recent photo session modeling her favorite clothes from the collections of such designers as Paris' Azzedine Alaia. But Adjani admirers, fear...
...told that we watch too much TV. Neat-o. In another we learn, to the sound of gunfire, that people kill people. Brilliant. Other scenes are less direct. At a pointless dinner party, the pre-Madonna-esque Ford girl heroine (portrayed, through the eyelashes, by international Cover Girl Adjani), tells a roomful of squares exactly what she thinks of them. With her Bride of Frankenstein fright wig and a gutter-mouthed talent for the unprintable expletive, she makes a speech unparalleled in pure offensiveness. The audience is cued to laugh uproariously. But profanity-as-a-punchline went out with...
Even in its horrendously truncated U.S. version (some 40 min. have been cut), Possession is a more engaging movie than it has any right to be. Zulawski's images are attractively dour: gray and brown, with the only assertive color an occasional shock of blood red. Adjani is a sullen ravisher, gorgeous and half bonkers. Like the movie itself, Adjani has the power of her pretentiousness...