Word: nastassia
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...Nastassia, Isabella, Joanna?elegant names, radiant new beauties in the world of movies and modeling. Their allure is distinctively European: it starts with their wide, serious eyes which do not blink at fame...
...camera loves Nastassia Kinski. Every feature of her young body comes to life before its lens. The wide, gray-green eyes send out satellite signals of precocity or perversity. The dewy skin holds, on the left cheek, a tiny scar, like a bookmark in a turbulent autobiography. The lips, extravagantly full, can pout or preen or tauten resolutely or open in an elfin smile. The long Botticelli neck carries the eye to a strange and strong body, with delicate breasts, expressive musculature and the strong haunches of a peasant girl or a centaur. Kinski is a true camera animal because...
...What Nastassia wants, Nastassia usually gets. Then as now, she wanted to be watched, and then taken. Her first beau was 15, she was 14, and, she says, "He waited for almost a year, just watching me, before he dared to say hello. It was the most romantic love story. We were two children in love in our own world." Soon enough, another world beckoned. At a party in Munich, she met Roman Polanski. He was 42; she was 15. "It started out as a light romance," Polanski says. "But I quickly realized that Nastassia had the potential to become...
With her restless spirit, and the enlightened narcissism of the star performer, Nastassia has set a pattern for her affairs: love beautifully, leave quickly. "I always fall in love while I'm working on a film," she says. "It's such an intense thing, being absorbed into the world of a movie. It's like discovering you have a fatal illness, with only a short time to live. So you live and love twice as deeply. Then you slip out of it, like a snakeskin, and you're cold and naked. What worries me is that when these loves...
...part because in pitching the film to her, Toback played Tristan to her Isolde: "This movie is why we're alive. It is why you were born and I was born. If we die when this movie is finished it won't matter, because this is it." Nastassia seems unbothered that the resulting film looks like a Bloomingdale's window of Terrorist Chic, and that the story line functions as a metaphor for her dangerous need to be used by directors whose eccentricity overwhelms their artistry. Exposed is "a film and an experience I truly love," she says. Indeed...