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In a remarkable blend of humility and talent, French cinema icon Isabelle Adjani has staged a grand return to the musical world with her latest album, Bande Originale, marking her first musical venture in four decades. Despite her acclaimed stature in the film industry, Adjani, known for her roles in Possession and Queen Margot, confessed to a surprising bout of shyness in the company of renowned musicians, leading her to record her parts separately.
The Oscar-nominated actress, celebrated for her multifaceted portrayals and a career festooned with accolades, also holds a cherished place in the hearts of music enthusiasts for her 1983 collaboration with the legendary Serge Gainsbourg on Pull Marine. The album yielded a distinctive and haunting hit, bearing the same title, etching her name in the annals of French pop culture.
Spanning over 17 years in its making, Bande Originale emerges not only as a musical project but also as a testament to Adjani’s artistic evolution. The album boasts an illustrious array of guest artists, including Seal, Simon Le Bon of Duran Duran, and the esteemed Senegalese musician Youssou N’Dour, showcasing her propensity to bridge diverse musical genres.
In an interview with Agence France-Presse, Adjani, 68, disclosed her feelings of intimidation, which prevented her from recording in the same room as these luminaries. “I was afraid of wasting the time of these professionals,” she shared, adding humorously that she didn’t want to trouble them while finding her own voice in music. Modestly referring to herself as “an actress who sings,” her approach reveals an endearing vulnerability contrasting sharply with her on-screen persona.
Bande Originale is not just an album but a narrative journey, traversing through various musical landscapes. It resonates with Adjani’s broad musical tastes, from the baroque strains of Henry Purcell to the folk rhythms of Joni Mitchell, culminating in contemporary electro-pop sounds. This cinematographic concept album, as Adjani describes it, chronicles “a fictional year of a woman through her relations with men.” Its 14 tracks are not mere songs but scenes in an unfolding drama, echoing the album’s title which translates to “soundtrack” in English.
Adjani’s lyrics are laced with playful, self-deprecating humor, often alluding to Gainsbourg, whose influence remains palpable in her work. She expressed joy over Gainsbourg’s Paris home, now a public space, while also sharing her personal reluctance to visit it, preferring to remember it as it was during his life.
A recurring theme in Adjani’s life and work is her use of sunglasses, a shield from the world since the age of 16. “I was raised with the idea that you should never look people in the eye,” she explained, highlighting how her glasses and hat are not just fashion statements but armor against the world’s glare.
While Adjani harbors dreams of creating a musical film, her innate shyness appears to be an obstacle. “I don’t like to go knocking on doors,” she admitted, reflecting on her reluctance to ask favors or opportunities from others. As for the possibility of taking Bande Originale on tour, the actress remains noncommittal, hinting at the extensive effort such a venture would entail, yet leaving the door open to the possibility.
In this latest chapter of her storied career, Isabelle Adjani redefines herself not just as an actress of immense depth but as a musician who navigates her insecurities with the same grace and intensity she brings to the silver screen. Her album Bande Originale stands as a bold statement of artistic courage and a reminder of her inexhaustible talent.
With AFP
