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Adrian Lyne: Movies
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Adrian Lyne, whose FLASHDANCE truly ushered in the Jerry Bruckheimer era, is attached to direct PRINCE OF THIEVES. This has nothing to do with the ROBIN HOOD movie that sported the PRINCE OF THIEVES subtitle, although it is about people who rob.
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Adrian Lyne director movies DVDs filmography available to buy at CDUniverse are listed below. Information on films includes: other actor and actress, star cast and crew information, reviews, director, photo of cover art, product pics and more.
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A remake of Claude Chabrol's 1968 film La Femme Infidele, Lyne's movie follows the plot of the original fairly closely. But the films are quite different. Chabrol's moves with clockwork precision and presents its characters with a sense of detached irony. Lyne's unfolds leisurely and presents its characters sympathetically.
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Lyne emigrated to Los Angeles in the early eighties and made Foxes, his first feature. He was then persuaded to direct a script he had turned down,"just a silly fairy story, really," as he describes it, that seemed so unlikely to do business that Paramount sold a third of its interest a week before its release. The movie was Flashdance. In its wake, teenage girls, repeating the type of fad Lolita had sparked two decades earlier, wore sweatshirts that fell off one shoulder, and Lyne became the industry's most sought-after new director.
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Lyne has created, from a screenplay by Stephen Schiff, an earnest movie about a man who, by falling in love with his emotionally immature stepdaughter, ends up destroying himself. His movie is not, contrary to expectations that may have been raised by the trouble it had getting shown in the United States, a titillating or sensationalist interpretation. "Incest is hell" is the general idea. As Irons has suggested, the only men who will walk out of this movie wanting to sleep with their teen-age stepdaughters wanted to sleep with their teen-age stepdaughters when they walked into it.
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[T]he film's producers were not seeking distribution until the final print was ready, a procedure Lyne instituted with his flagrant 9 1/2 Weeks. Still, there were rumors. In one, failure of nerve prompted Lyne to domesticate the enterprise into "a $40 million art-house movie." In another, prospective distributors, chastened members of an industry denounced for licentiousness, were questioning Lolita's suitability for audiences.
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