One of my first "art" films after, as a total hick, I fled to the "big city", Vancouver, where I attended its 1973 Canadian premier. I laughed till I cried: Pat Ast, the control freak with the southern accent, inflicting herself on anyone who crosses her path. Wonderful moment: Sylvia Miles on her way out of the motel just after a big fight with Jesse (Andrea Feldman) and there's Lydia-Pat, leaning against the wall in her platforms, shaking her head disparagingly as Sylvia walks by. I mean, she doesn't even KNOW this woman, yet she's passing judgement on sight alone. What a splendidly awful person! Check out the moment when Pat, having bribed Joe into a sexual encounter, starts obsessing on crazy poor Andrea is and how she "just can't" have people like that around her anymore. As if she has any claims to class. Oh, and that scene between her and Sylvia, where she taunts about her sexual conquest of Joe and breaks into psychotic laughter as Sylvia flees in ego-deflated confusion. I love this movie as a whole, but Pat Ast made it total magic. Why isn't she a comedy star?
Stamp was born in Stepney, London, England, the eldest of five children by parents Tom and Ethel Stamp. His brother, Chris Stamp, is a rock 'n roll impresario credited with bringing The Who to prominence during the 1960s. Because his father was away for long periods with his job in the Merchant Navy, young Terence was mostly raised by his mother, grandmother, and aunts. He grew up wanting to be the film actor Gary Cooper after his mother had taken him to see Beau Geste at the age of three. He identified with the possibility of becoming an actor when he saw James Dean on the screen as someone he could relate to. His motion picture debut was in Peter Ustinov's 1962 film adaptation of Herman Melville's Billy Budd. Stamp's portrayal of the title character brought him not only an Academy Award nomination, but also international attention. Stamp's pale blue eyes and haunting good looks made him a popular leading man, but it was his outstanding acting that got him noticed by some of the most acclaimed directors of the time.
After his success in Billy Budd, Stamp collaborated with some of the cinema's most revered filmmakers. Stamp starred in William Wyler's adaptation of John Fowles' The Collector (1965), opposite Samantha Eggar, and in Modesty Blaise (1966), for director Joseph Losey and producer Joe Janni. Stamp reteamed with producer Janni for two more projects: John Schlesinger's adaptation of Thomas Hardy's Far From The Madding Crowd (1967) starring Julie Christie, and Ken Loach's first feature film Poor Cow (1967).
Stamp then journeyed to Italy to star in Federico Fellini's Toby Dammit, a 50-minute portion of the Edgar Allan Poe film adaptation(s) Histoires extraordinaires (1968, aka Spirits of the Dead). Stamp made Italy his home for several years, during which time his film work included Pier Palo Pasolini's Teorema (1968) opposite Silvana Mangano, and Stagione all'inferno, Una (1970). Terence Stamp was considered for the title role of Alfie but turned it down.
His subsequent film credits included Alan Cooke's The Mind of Mr. Soames (1970), Richard Donner's Superman: The Movie (1978) and Richard Lester's Superman II (1980) (as Kryptonian super-villain General Zod), Peter Brook's Meetings with Remarkable Men (1979), Stephen Frears' The Hit (1984). Also in 1984, he had the opportunity to play the Devil in a quick cameo in The Company of Wolves. He also starred in Richard Franklin's Link (1986), Ivan Reitman's Legal Eagles (1986), Michael Cimino's The Sicilian (1987), and Oliver Stone's Wall Street (1987). The film Beltenebros (1992, aka Prince of Shadows), in which the actor starred for director Pilar Miro, was awarded the Silver Bear at the Berlin Film Festival.
Stamp began his fourth decade as an actor wearing some of the choicest of Lizzy Gardiner's Academy Award-winning costumes for the comedy The Adventures of Priscilla, Queen of the Desert (1994) for director Stefan Elliot and starring with Guy Pearce and Hugo Weaving.
In 1999, it was Stamp's lead role in Steven Soderbergh's The Limey, which debuted that year to widespread critical acclaim at the Cannes Film Festival, that once again made him popular to a whole new generation of moviegoers. For his performance, Stamp received nominations for Best Male Lead at the 2000 Independent Spirit Awards, and for Best British Actor at the London Film Critic Circle (ALFS) Awards. Stamp can also be seen in George Lucas's global blockbuster Star Wars - Episode I: The Phantom Menace (1999) as Chancellor Finis Valorum; Frank Oz's Bowfinger (1999) opposite Steve Martin and Eddie Murphy; and Red Planet (2000) opposite Val Kilmer and Tom Sizemore.
In recent years, Stamp has completed the features Ma femme est une actrice (2001, aka My Wife Is An Actress) for Timothy Burrill Productions; My Boss's Daughter (2003) opposite Ashton Kutcher; Disney's The Haunted Mansion (2003), opposite Eddie Murphy, playing the diabolical butler 'Ramsley'; and Elektra (2005), opposite Jennifer Garner, playing "Stick", Elektra's blind master. Having played Superman's enemy General Zod, Stamp returned to the Superman mythos in a different role, this time as the voice of Clark Kent's disembodied but powerful, insistent and controlling Kryptonian father, Jor-El in the WBCW television series Smallville (2003-present). In a season six premiere, Stamp later lent his likeness to play the spirit of Zod, his original Superman role. Stamp has also made a guest appearance on the popular animated series, South Park.
In addition to his acting career, Stamp is an accomplished writer and author. He has published three volumes of his memoirs, including Stamp Album (written in tribute to his late mother), a novel entitled The Night, and a cookbook co-written with Elizabeth Buxton to provide alternative recipes for those who are wheat and dairy-intolerant.
Stamp's current projects include the video game Elder Scrolls IV: Oblivion, in which he plays the villainous Mankar Camoran, head preacher of the Mythic Dawn, an evil cult that worships the Daedra Lord Mehrunes Dagon; and the films Zombie Island and These Foolish Things. Stamp appeared in the music video At the Bottom of Everything by musical phenom Bright Eyes.
A sensitive story about boys discovering their sexuality. The primary character, Logan, gradually comes to realize his homosexuality. The film follows Logan to a final coming out. The story telling is enhanced by clever devices such as the times when Logan writes short sentences about his feelings on his naked chest and belly.
The one where Logan moves his hand to cover the lower half of a heart shape is a nice way to give words a miss. Dialogues are sensible and honest. The young actors do a good job of delivering their lines with naturalness.
The mood through the film is of quiet determination. Alone and with almost no one to share his feelings, Logan has not had and will not have an easy time in school. The risible attempt by the principal for a show of tolerance by the rest of the students is well portrayed. Kids can be a cruel lot.
The use of primary colors, especially red and blue, often exclusive of any other hues feels at first like a whim. The heavy saturation of colors suggests the film spent too much time being digitally processed. In time it becomes apparent that the color scheme serves the purpose of creating a surreal environment that prepares us for the use of metaphorical visual and vocal devices.
