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Storyline
Dr. Lauren Slaughter, a research fellow at the Arab-Anglo Institute in London is utterly frustrated by her job. To supplement her income, she starts moonlighting at the Jasmine Escort Service, where she has more control over men and money than she does at the office. On one of her 'dates', Lauren meets the politician Lord Bulbeck who is trying to mediate a peace accord between the Arabs and Israelis. Bulbeck falls in love with his escort, and unwittingly, Lauren becomes a pawn in some very dirty politics. Written by
Thorsten Roskowetz <itroskow@mordor.informatik.uni-osnabrueck.de>
Plot Summary
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Taglines:
Dr. Lauren Slaughter, professor, emissary, hooker, target.
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Did You Know?
Trivia
When this film was reviewed by critic
Joel Siegel on WABC-TV Eyewitness News, New York in September 1986, a few seconds of a clip of
Sigourney Weaver topless on the exercise bike was accidentally shown.
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Goofs
When the would-be assassin enters the bathroom he attempts to switch on the light using a 4-gang wall-switch. It is illegal (in the UK) to have such switches inside a bathroom. If wall-switches are used, they must be outside. The alternative is to use cord-operated ceiling-switches.
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Quotes
Dr. Lauren Slaughter:
Am I supposed to say "Your place or mine?"
Karim Hatami:
No. These days, you say "Betamax or VHS?"
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Connections
References
The Road to Frisco (1940)
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Soundtracks
"East 34th Street"
Music by
Dick Walter
KPM Music Ltd
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This starts off quite well, with some interesting ideas about traditions, rituals and values in different societies, however about halfway into it, the film starts to fall down, triggered by the introduction of thriller elements that just do not quite work. Sigourney Weaver delivers a strong performance throughout though. The rest of the performers do not do much out of the ordinary, but Weaver manages to bring a sense of credibility to her part, although she is too often topless. The partial nudity involving her is excessive for the film's story, but otherwise, she is great to have on screen, and her attractiveness does not hurt. There is not much of a directing vision to the material, the story is only half-good and there are probably a few other minor problems to be found. Sigourney Weaver certainly enlivens the material however, and the film is not bad to start with. For Weaver fans, it is definitely worth a look, however even for others it is satisfactory enough film-making to be perhaps worth checking out.