Bridget Fonda- The Assasin

Bridget Fonda (born 27 January 1964) is an American actress. She made her film debut at the age of five in the 1969 movie Easy Rider as a child in the hippie commune that Peter Fonda and Dennis Hopper visit on their trek across the United States. Her second (also non-speaking) bit part was in the 1982 comedy Partners. In 1988 she got her first substantial film role, costarring with John Hurt in Scandal, based on the Profumo affair. That year she also appeared in You Can’t Hurry Love and Shag. Her breakthrough role, however, was as a journalist in The Godfather, Part III. After gaining additional work experience in a few theater productions she was cast in the lead in Barbet Schroeder’s Single White Female, followed by a role in Cameron Crowe’s ensemble comedy Singles, both in 1992. A review in the New Yorker proclaimed her “provocative, taunting assertiveness”, and Rolling Stone said Fonda was “a comic delight”. In 1997 Fonda was on the same plane flight as Quentin Tarantino when he offered her the part of a beach babe in Jackie Brown. Fonda was also offered the lead role in the television series Ally McBeal (later accepted by Calista Flockhart), but turned it down to focus on her film career. She has not appeared in films since 2002. On November 29, 2003 she married film composer and former Oingo Boingo frontman Danny Elfman. They have a son Oliver, born in mid-January 2005.
Video Rating: 4 / 5

Segment from the film “Aria” (1987)- Directed by Franc Roddam, Featuring Bridget Fonda & James Mathers. Pure beauty of Richard Wagner’s Liebestod from the opera “Tristan und Isolde” transported to strange beauty of the Las Vegas, with Bridget Fonda…
Video Rating: 4 / 5

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32 Responses to “Bridget Fonda- The Assasin”

  1. haleyteddy03 says:

    Thanks. That’s weird in a different country it has a different name.

  2. Solijet says:

    In Australia it was only Assassins.

  3. xtelltalex says:

    The first time I saw this I thought his gift for her was a gun for her own protection, but…..=/

  4. haleyteddy03 says:

    Great movie, I watch it all the time. This came out in the early 90s before actresses started getting toned for films, so she’s really skinny in it, but she still is believable as a tough girl.

  5. haleyteddy03 says:

    Why do people keep titling this The Assassin? Did the name get changed? I’ve always just known it as Point of No Return.

  6. nemo9xiphos says:

    Was ok, but
    Not as good as the original

  7. Jose tun tun says:

    esta pelicula fue la mejor protagonizada por una mujer en este estilo,todavia me encanta ver la mejor pelicula de bridget fonda, y por cierto la mejor en su tipo … bellisima bridget fonda … I love you ssssssssooooooooooooooooo muchhhhhhh, mua, kisses

  8. edmund184 says:

    This movie is the pits.

  9. 32peartree says:

    I get the feeling Adolf and Eva had this on the turntable when they topped themselves. Shame Hitler had such great taste in music and an eye for the Wagnerian spectacle.

  10. MrJimuth says:

    when the ice caps melt and the food runs out… this video will be replayed a billion times 

  11. nicksum29 says:

    Wagner disciples get very upset when anyone dares change a single thing in his music. Personally, though the death is not in keeping with the original intention, I think this a wonderful adaptation of a remarkable idea. Ignore the purists. They think they pee perfume and crap marble.  It very boring.

  12. O Bob says:

    You liked the interpretations of the pieces, or the music?

  13. O Bob says:

    I guess you wanted the movie to reflect the original piece, and your poor interpretation (you have every right to that interpretation).

    All movie directors must follow the style, themes, characters, events and locations of any prior stage production. That they twist it is completely unacceptable.

    Read a fucking book someday man. Don’t worry about “your” opinions (that you rip from other people) being different to others.

  14. vazmo14850 says:

    this is the single piece from the film “ARIA” that made me watch the rest of the movie. and spent almost 6 hours that day watching it over and over!!!!! this is exquisite….

  15. NazTb0y says:

    what now, Cougar? Who got schooled in Wagner?

  16. NazTb0y says:

    Trouble is, you’re viewing the Liebestod through Hitchcock rather than Wagner. Wagner isn’t modernism or realism–but the most modern & enduring kind of Romanticism–a kind that still speaks to us, Hitchcock’s Vertigo notwithstanding. If you’re calling Meier fat, you’re ignorant. She’s petit & gorgeous, & her Munich performances captures the youthful vigor of Isolde perfectly.

  17. NazTb0y says:

    Liebestod = transfiguration of the soul through death & putting off of sexual fulfillment. You don’t get Wagnerian sexuality. This is why Nietzsche preferred Bizet to Wagner! b/c Isolde never got to consummate her love, she gains a kind of ascetic ecstasy mixed with pain, & b/c the love is supernatural, i.e., the product of a magical potion, it’s too much for them both to bear and kills them. The ultimate thought experiment in sexual asceticism. Your interpretation is mundane…

  18. BlueCougar says:

    Goodness, the amount of ignorance in this comment is appalling! Roddam perfectly captured the meaning of the whole opera in this aria. Liebestod = the consummation of love through death! It seems YOU have no understanding what the lines in the final aria mean. “Soll ich schlürfen, untertauchen? Süss in Düften mich verhauchen? Unbewusst – höchste Lust…” But of course, YOU’d rather have seen a 50 year old fat soprano hovering emotionless over a 60 year old tenor instead…

  19. Juan Manuel Medina Guzmán says:

    I remember this movie, the first time I saw her she was 17, and of course I liked it. I do not know if you could upload all the parts, would be great.

  20. NazTb0y says:

    Oh my god! You don’t play the Liebestod during a fucking sex scene… Franc Roddam must have really hated Wagner to have paired the content of the Liebestod to such unfitting form. He probably counts on no one knowing shit about Wagner, let alone bothering to read the German libretto. At least he didn’t defile the immaculate voice of Waltraud Meier by associating it with this meretricious piece of trash. Aria! As if this were the film for opera aficionados to see! Aria, my ass!

  21. NazTb0y says:

    @BenjaminFonseca Waltraud Meier in Munich is better…

  22. forevermorphingari says:

    yes Leontyne,singgg =’)

  23. Juan Manuel Medina Guzmán says:

    I remember this movie, the first time I saw her she was 17, and of course I liked it.
    I do not know if you could upload all the parts, would be great.

  24. keepondreaming20 says:

    ok am i the only one who cant believe this is on youtube?

  25. vkatsaitis says:

    Unforgettable segment. Always on my mind and shocking gave me a few sleepless nights. Superb movie.

  26. rlaures says:

    Gracias por el aporet

  27. Gary Freedman says:

    I remember when I saw this at the theater in 1988 — I was shocked and couldn’t get this segment out of my mind.

  28. saltrapty says:

    thanks to your reply i watched this segment again just now. I just watched the human centipede 2 nights ago, and still, this segment is more disturbing to me. its hard to watch. i think its bridgets face when she looks at him after he slits his wrist. they are like, ok…we did it. time to die now. very disturbing.

  29. archcorenth says:

    of course the title of the aria might give it away too. 😛

  30. youfeda says:


  31. saltrapty says:

    this one…left me, speechless. and i knew what was going to happen too cause of roger eberts review. he gives no spoiler alert at all. but…i knew what was going to happen, and i still felt, the most shocked and depressed i have felt while watching a movie, and if you check my videos, im sorta known for doing shocking movies…but this, over, salo, cannibal anything, was more disturbing to me. i LOVE it.

  32. SteamMachineTR says:

    ses için görüntüler için teşekkürederim :) yolculuklar iyi bitmeyebiliyor bazen ..kimbilir belkide iyi bitmiştir ..

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