LYCOS RETRIEVER 
Adrian Lyne: Films
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Lolita, Adrian Lyne's adaptation of Vladimir Nabokov's celebrated 1954 novel, is a mature film about a complex psychological subject. Notwithstanding some minor weaknesses, this is a sensitive and humane film--a tragic story about paedophilia and sexual obsession, interwoven with moments of comedy and intense beauty.
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Adrian Lyne (born 4 March 1941 in Peterborough, Cambridgeshire, England) is an English filmmaker and producer. He is best known for his films focusing on sexually charged characters, and sultry, eroticized atmospheres which he visually creates in his films by use of filming techniques such as making use of natural light and using a fog machine to create a soft focus. He was educated at Highgate School.
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British-born director Adrian Lyne "grew up" professionally in TV commercials, carrying over the quick-cut, hard-sell techniques of that specialized genre into his first film, Foxes (1980). Lyne went on to embrace the burgeoning "MTV" directorial school for his breakthrough feature, Flashdance (1983).
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Adrian Lyne lives up to his reputation as an articulate and thoughtful interview. But make no mistake: he sounds exhausted. This is one of the last interviews he's giving before he leaves the continent and returns to Europe. He's been granting interviews to [E]veryone, in the desperate hope of bolstering the box-office chances of his latest film.
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In 1990, Lyne pushed the boundaries of psychological terror with the thriller Jacob's Ladder. Written by Academy Award-winner Bruce Joel Rubin (Ghost) and starring Tim Robbins, Elizabeth Pena and Danny Aiello, the film took audiences on a tortuous ride through Vietnam veteran Jacob Singer's (Robbins) nightmarish world of reality and unexplainable hallucinations to reveal a shocking and intensely-debated conclusion. The film won Best Picture at the Avoriaz Film Festival.
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Lyne's dim view of Diana differs from the 1989 book on which the film is based. Jack Engelhard's novel of the same name takes a dim view of everyone. The husband is a Jewish speechwriter working with former Nazis, and the moneybags is an oil-rich Arab with a sadistic streak. But Lyne and screenwriter Amy Holden Jones (the director of, yikes, Slumber Party Massacre) let the men off the hook. Redford delivers a girl-that-got-away speech, stolen from Citizen Kane, that establishes Gage as a romantic paragon. And Harrelson's Cheers appeal makes David seem positively beatific when he takes a low-paying job teaching architecture and urges students to "aspire."
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