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Isabelle Adjani, b. Paris, L955

There is something so frank, so modern in her feelings, yet so classical in her aura, so passionate and so wounded, that Isabelle Adjani seems mads to play Sarah Rernhardt one day. Why not? She is a natural wearer of costume capable of making us believe that the “period” world we are watching is happening now. She is bold, a mistress of her career, and has been a fiercely equal partner in her romantic relationships with Bruno Nuytten, Warren Beatty, and Daniel Day-Lewis.
Her mother was German, anil her father Algerian and Turkish, When only a teenager, she was invited to join the Comedie Fran-e.aise, playing to great praise in Lores and MoHere. She has been making movies since the age of fourteen: Le Petit BouRtuit (69, Bernard T. Michel); Faustine ou \e Bel Ete (71, Nina Companeez); La Gtfle (74, Claude Pinoteau); and made an international impact as the love-crazed girl in L’Hixtoire d’Adele H. (75, Frangois Tmffaut), tor which she won an Oscar nomination.
She was on the. brink again in The Tenant (76, Roman Polanski); Barocc.o (76, Andre” T6chin6); Violalte et frangois (76, Jacques Rouffio); made an uneasy American debut in The Driver (78, Walter Hill); as a woman infatuated with the vampire in tiosfentttt, Phantom der Nacht (79, Weroer Herzog); as Emily in The Bronte Sisters (79, Techine); Possession (80, Andrzej Zulawski); and Clara et lea Chic Types (80, Jacques Monnet).
She played the central victim, a version of Jean Rhys, in Quartet (81, James Ivory); L’Annee frochnme si (out va hien (81, Jean-Loup Hubert); Tout Feu, Toute Flamme (82, Jean-Paul Rappeneau); Mortelle Randonnee (82, Claude Miller); Doktor Faustus (92. Frank Seta); as Antonieta Rivas Mercadi, n melodramatic arts patron, in Antonieta (82, Carlos Saura); was stark naked for much of L’£t£ Meurtricr (82, Jean Becker), something between an erotic force ot nature and a village idiot; Subway (85, Luc Besson); entirely wasted in Ishtar (87, Elaine May).
She was the producer as well as the star of Camille Ciaudel (88, Bruno Nuytten), her most overwhelming and characteristic performance, as a woman in love with art, exhilaration, and danger. Once more, she was nominated for the Oscar. If only Warren Beatty could have given her a role as strong. After four years, she made La Reine Margot (94, Patrice Ch£reau).