Published via Ecency

(source: tmdb.org)

The line that separates bad films from “so bad it is good” candidates for cult film status is often very thin. One film that danced on it was Exposed, 1983 thriller drama written and directed by James Toback. Protagonist, played by Nastassja Kinski, is Elizabeth Carlson, young woman who desperately wants the escape dull monotonous life of her parents at Wisconsin farm. Her first attempt by attending college ends disastrously due to ill-fated affair with over-possessive English professor (played by Toback). Elizabeth tries her luck by going to New York where, despite few unfortunate incidents, she finds job a waitress in a restaurant where she is discovered by fashion photographer Greg Miller (played by Ian McShane). She soon becomes a supermodel with her face on the cover of all trendy magazines and among legions of admirers she finds mysteriousviolinist Daniel Jelline (played by Rudolph Nureyev). He seduces her and brings her to Paris where she discovers that Daniel is obsessed with catching Rivas (played by Harvey Keitel), international left-wing terrorist whose bomb recently killed his mother. Since Rivas’ organisation features many young women, Daniel hopes that Elizabeth, acting as potential recruit, might serve as a perfect bait.

On paper, Exposed had many ingredients for potentially great film – intriguing plot about revenge and international terrorism, musical soundtrack by Georges Delerue, costumes by Yves Saint Laurent and, last but not least, Nastassja Kinski in the prime of her stardom. In reality, Toback hadn’t got a clue what would he want to make – spy thriller, “coming of age” drama or black comedy – and that genre confusion makes Exposed overlong and ineffective. There are some good parts – most notably Harvey Keitel in the role of Carlos-like charismatic terrorist – and few interesting moments (Nastassja Kinski’s improvised dance routine while listening to “It’s in His Kiss” or seduction scene in which Daniel literally plays Elisabeth like violin) that usually don’t connect with the rest of the film, but this isn’t enough to generally improve impression of the film. The most noticeable problem for this film Nureyev, great ballet dancer for whom this was his second and last non-dancing role in the career. Unlike Valentino, where he compensated his lack of acting ability by Ken Russell’s steady direction, here he delivers bland and unconvincing performance and, most importantly, he lacks any sort of on-screen chemistry with Kinski. Film also has problems with pacing and it takes almost an hour before the real thriller plot is revealed. It takes place in overcast, unattractive Paris and ends with predictable and melodramatic bloodbath, leaving most of the audience unsatisfied.

RATING: 3/10 (+)