It's the rock star version of "Trilby", made into a film several times and updated as a cable TV movie starring the much Oscar nominated Peter O'Toole and the future two time winner Jodie Foster. She had sung as a teen in "Bugsy Malone", and here emulates several country western singers and Carly Simon with her pleasant but unremarkable voice. Her character becomes obsessed with her mentor (O'Toole), unlike the other versions where the Svengali becomes obsessed with Trilby. O'Toole is perfectly cast as the admitted narcissist, telling an overwrought middle-aged woman (Barbara Byrne) to save her money and just sing in her church. Foster's a bit of a neurotic mess, having found her boyfriend cheating on her with another future Oscar winner, Holly Hunter. This is one of the few times I've seen Hunter playing an actually happy character and it's a historical moment just as it was seeing star Barbara Stanwyck sharing a brief scene with the rising Bette Davis in "So Big" and Jane Fonda and Faye Dunaway briefly crossing paths in "Hurry Sundown".
An enjoyable Elizabeth Ashley offers good support as O'Toole's obvious former lover, cast aside by him as he mentors Foster. Of course O'Toole is the more commanding of the leads, but appropriately, Foster at times seems to be in awe of the power he brings to the screen. Her desires to seduce him seem creepy on the perspective that her lust for him borders on obsession which switches the original themes of the obsession that previous Svengalis had for their own Trilby. She's not quite a fatal attraction but there is a sickness over her desperation to change him as he manages to change her in order to improve her art. This is the svengali story seen from a different gender angle, and the ending really leaves a few questions unanswered by the way she is forced to walk away. The power of the theme is there. It just never successfully gels.
An enjoyable Elizabeth Ashley offers good support as O'Toole's obvious former lover, cast aside by him as he mentors Foster. Of course O'Toole is the more commanding of the leads, but appropriately, Foster at times seems to be in awe of the power he brings to the screen. Her desires to seduce him seem creepy on the perspective that her lust for him borders on obsession which switches the original themes of the obsession that previous Svengalis had for their own Trilby. She's not quite a fatal attraction but there is a sickness over her desperation to change him as he manages to change her in order to improve her art. This is the svengali story seen from a different gender angle, and the ending really leaves a few questions unanswered by the way she is forced to walk away. The power of the theme is there. It just never successfully gels.