Word: adjani
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...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...
This French-West German co-production was filmed in English in 1981 by a Polish emigre and stars an Australian (Sam Neill), a German (Heinz Bennent) and a French-German-Algerian-Turk (Isabelle Adjani). Alienation is, not surprisingly, all. Adjani bickers endlessly with Husband Neill, flirts with the mysterious Bennent, and wanders the deserted streets under a sky clouded with portents of apocalypse. One day, in a creepy subterranean walkway, she is seized by violent cramps, writhes about and delivers a glutinous hunk of protoplasm...
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...