Terence Stamp was a brilliant and beautiful actor who played the most powerful enemy of Superman
Discovering the stamp – everything he contained, everything he accomplished, and everything he held – over the following four decades was an invigorating experience. He was incredibly unique and dead, sexy dead. I would like to think that he could have been a bigger star, but I am also grateful to have never been closed in more than a few ugly films as manager. For the most part, when the buffer appeared, it belonged and the film immediately became punishment and attention.
I did not start obtaining a buffer measure as an actor until my English teacher in high school, Joyce Rucker, screened Peter Ustinov’s film on “Billy Budd” by Herman Melville. I got it fairly quickly. Our classroom turned into a sauna. There were fainting and aspirants CIS, but the stamp was impossible. We could never have that, and we could not be that. The “Billy Budd” of Ustinov is not a conventionally sexy film (it is, after all, directed by Ustinov, which was to eroticism what Chris Dudley was to the filming), nor the “The collector” of William Wyler, but you came out of the search for more stamps by William Wyler.
Stamp imposed in his films “Superman”, and an Avenger hard and with blue eyes in “The Limey” by Steven Soderbergh. But these performances become less interesting (although no less effective) when you take into account the psychological complexity of his work from the 1960s in “Teorema” by Pier Paolo Pasolini, “Poor Cow” by Ken Loach and his representation of an alcoholic actor in “Toby Dammit” by Federico Fellini (a piece of the anthology of arthology “Spirit of the Dead”).
Post-Zod, “The Limey” with the exception of the strategically stamp made it possible to be used. He is an accomplice and fully engaged in “The Hit” by Stephen Frears, “The Sicilian” by Michael Cimino and “Bowfinger” by Frank Oz and, by entering the last stage of his career, he was an explosion in “Yes Man” by Peyton Reed, and “The Adjust Bureau” by George Nolfli. I am so happy that his compatriot Edgar Wright obtained a stamp for his swan song, “last night in Soho”, where Stamp played a ghost with silver hair.
Since his very first performance, Stamp has haunted us. We loved him as a zod, but we fell in love with him, against our best judgment, in films like “The Collector”. I can’t really quantify the Terence stamp, but I will welcome it forever in my dreams … or nightmares … or these enchanting spaces between the two.
And as long as I look at “Waterloo Sunset”, I will be in paradise.
