The Cotton Club, in , was the last time she acted alongside Richard Gere , who was twice her age she was She was worth millions by the age of 18 and had the world at her feet, but instead of soaring to Jolie or Paltrow heights, or indeed careening into a muddle of drug abuse and therapy, Lane spent the 90s as a 'working actress', a hidden diamond in a string of also-rans and occasionally excellent indies. Her turn as the evil-junkie stepmom in The Glass House was suitably debauched, and she was every inch Mark Wahlberg's brave and sobbing widow in The Perfect Storm, her 41st credit. Yet all of this pales into the past now that Unfaithful is out. As almost an affront to the mythmakers of Hollywood, for example, she deliberately missed the Oscars this year. So the studio imposed a diktat, a particularly jarring 'Hollywood' final line. In fact, she's so refreshingly comfortable in her skin that when asked what she would change about her looks if she could, she doesn't umm and ahh about 'my nose' or anything so cosmetic.
After all, there was a time when she was so set for success that failure seemed inevitable. His other trick was to shoot a whole magazine of film, so one take was as long as five takes. Which does for the remaining theories about child stars. Cue murder, guilt, cops, tears and a wrenching moral aftermath that ends, radically, in ambiguity - the good kind, the kind that makes you wonder what will or should happen next. The final frame was fought over to the last. The Cotton Club, in , was the last time she acted alongside Richard Gere , who was twice her age she was Yet all of this pales into the past now that Unfaithful is out. I haven't worked since. She dated Jon Bon Jovi and Matt Dillon during the 80s, and was married to Lambert until - a man that she has described as 'the complete opposite of someone who could give me what I needed'. After years below the celebrity radar, she has lately emerged as a seasoned talent in need of a worthy script. The parts are so nuanced and the script so lean that what might have been a standard morality tale becomes instead a complex, sympathetic portrayal of all three players - the cheat, the cheated on and the catalyst. Oh my God, yes,' she says, nodding seriously. It is no different for Lane, who is obsessed that her daughter not be railroaded into showbusiness and premature stardom as she was. Unfaithful's strength is its acute observation of what Lyne calls 'the body language of betrayal'. Since her guilt is so transparent, a tribute to her performance, she remains ultimately moral. She's warm and frank and happy to talk sex scenes from the off. Her turn as the evil-junkie stepmom in The Glass House was suitably debauched, and she was every inch Mark Wahlberg's brave and sobbing widow in The Perfect Storm, her 41st credit. Lyne is used to hits, and infidelity is his major theme - he followed Fatal Attraction with Indecent Proposal - so Unfaithful should be a decent bet at the box office. She is also defiantly anti-fabulous, at best bemused by the celebrity circus of which she was once a part. You know, I've done very well without celebrity for a very long time and I think I'm a different animal for it. Though she would never excuse her character's affair, Lane explains the impulse to cheat as a need for excitement. Lane has created, not for the first time, that most un-Hollywood of characters: As Matt Dillon's girlfriend Patty in Coppola's cult classic Rumble Fish, she had conquered the teenage-siren role and was casting around for a lead to catapult her into the firmament once and for all. Her stage career began at six, as a full member of La Mama, a globe-trotting avant-garde theatre company. In fact, she's so refreshingly comfortable in her skin that when asked what she would change about her looks if she could, she doesn't umm and ahh about 'my nose' or anything so cosmetic.
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