#Terrence Stamp

[dozydawn]

Laura Antonelli in The Divine Nymph (1975).

Costume designed by Gabriella Pescucci.

[cronennerd]

But this is all death, don't you see? Nothing but death! These are dead. I'm dead. Everything here is dead. Is that what you love? Death?

- The Collector (1965)

[60sfactorygirl]

Jean Shrimpton and Terrence Stamp photographed by Terry O’Neill, 1965.

[adreciclarte4]

Terrence Stamp by David Bailey, 1965

[the-black-mask]

T H E S M I T H S

📀 A L B U M C O V E R S 📀

▶️ Louder Than Bombs (LP)

▶️ The World Won't Listen (LP)

▶️ Girlfriend In A Coma

▶️ The Boy With The Thorn In His Side

▶️ How Soon Is Now

▶️ Shoplifters Of The World Unite

▶️ That Joke Isn't Funny Anymore

▶️ Big Mouth Strikes Again

▶️ The World Won't Listen (LP)

▶️ What Difference Does It Make

[tunasaladonwhite]

[mooseyspooky]

I'm still obsessed with this Kevin Cummins article from 2002, don't mind me. (This one, I mean)

This shoot was in 1989

And this picture of Terrence Stamp was featured on the cover for What Difference Does It Make? in 1984.

A song, in many ways, about Johnny:

[zippocreed501]

Amicus SF films

Yes, I know you look a tit but that costume cost me two quid in tape and tin foil!

Dr. Who and the Daleks (1965) Daleks' Invasion Earth 2150 A.D. (1966) The Terrornauts (1967) They Came from Beyond Space (1967) The Mind of Mr. Soames (1970) The Land That Time Forgot (1974) At the Earth's Core (1976) The People That Time Forgot (1977)

[duranduratulsa]

Up next on my 90's Fest Movie 🎬 🎞 🎥 🎦 📽 marathon...Star Wars: Episode I - The Phantom Menace (1999) on glorious vintage VHS 📼!#Movie #movies #scifi #actionadventure #starwars #thephantommenace #starwarsepisode1 #StarWarsEpisodeIThePhantomMenace #LiamNeeson #ewanmcgregor #JakeLloyd #natalieportman #ianmcdiarmid #KeiraKnightley #RayPark #samuelljackson #frankoz #terrencestamp #kennybaker #RIPKennyBaker #AnthonyDaniels #warwickdavis #vintage #VHS #90s #90sfest #durandurantulsas4thannual90sfest

[boardchairman-blog]

**Shots of the Movie**

Superman: The Movie (1978)

Director: Richard Donner Cinematographer: Geoffrey Unsworth

[onefootin1941]

Julie Christie and Terence Stamp at the Los Angeles premiere of Far From the Madding Crowd, October 1967

John Schlesinger Collection/BFI Special Collections

[mygreatadventurehasbegun]

So, I guess I'm starting Spooky Season early this year.

I mean, I'm not going to be able to watch a horror movie every night in October like I usually do, so I'm allowed to start early!

And I got to watch a new one tonight!

Tonight's movie was The Collector, directed by William Wyler and starring Terrence Stamp and Samantha Eggar.

Damn, this movie was creepy.

While watching it, I kept thinking how easy it would be to adapt this into a play. Two main characters (with one quick cameo by a third), basically one location, and a fantastic character piece.

It also makes me want to read the book. I really had no idea where this was going and was pretty shocked how the story ended.

Terrence Stamp is so terrifying in this movie...he creates such a complex character, who you can see is just a very lonely, socially awkward man, he almost tricks you into feeling sorry for him (keyword: almost)...but then he turns on a dime and gives a look that makes your blood run cold. And you remember that he is a manipulative stalker, who thinks that he can have what he wants for no other reason than because he wants it. He's trying to create this perfect scenario, not realizing (or caring) that that is not how things work. And in his mind, nothing is ever his fault...she'd fall in love with him if she just tried.

He's scary in a very realistic way. There were a couple of moments where I forgot to breathe.

And Samantha Eggar as Miranda is fantastic...she is so real as the kidnapped art student...she isn't the typical "damsel in distress", she's quick-thinking and smart, but is still vulnerable and at the mercy of this stalker and does her best to placate him.

It's hard to believe that William Wyler, who directed something as light and fluffy as How to Steal a Million, also directed something as bleak and disturbing as this.

The only thing I didn't like about the movie was that I had to watch it with commercials...which absolutely killed the tension. Fortunately, the breaks happened between scenes, rather than interrupting them (which I've had to deal with, and it sucks)...but it did make it tough to stick with it at times. But I'd love to watch this again without the interruptions!

[cinemaocd]

The Hit (1984) i.e. how are these men rolling around on the ground in Spain and not getting dirty????

[60sfactorygirl]

Anna Karina and Romy Schnider with their "Etoiles De Cristal", 1963.

Nico Papatakis, Serge Reggiani, Romy Schneider, Anna Karina and Terence Stamp photographed with their "Etoiles De Cristal", 1963.

[lereveducentaure]

Teorema 1968

Pier Paolo Pasolini

[cantsayidont]

Moviezzz:

THE AMERICAN SOCIETY OF MAGICAL NEGROES (2024): Underdeveloped Kobi Libii satire about a down-on-his-luck Black artist (Justice Smith) who's recruited (by David Alan Grier) to become a kind of Black fairy godfather for fretful white people, only to immediately stumble when he and his first "client" (Drew Tarver) both fall for the same attractive woman (An-Li Bogan). The concept is pointed, and the scenes with Grier take some well-deserved if rather easy potshots at films like THE GREEN MILE and DRIVING MISS DAISY, but those scenes outline a thesis that the main story really doesn't pay off; you could cut all the magical stuff completely without significantly changing the plot, which is a fairly ordinary romcom about a young Black man whose artistic and romantic ambitions are undermined by his socially conditioned reluctance to assert himself. Frustratingly, the movie's most interesting twist — which actually reframes the entire story in a completely new and provocative light — comes right at the end, leaving no opportunity to actually engage with it. CONTAINS LESBIANS? Not a one. VERDICT: Like THEY CLONED TYRONE, it's a logline in search of a script, and it accomplishes less with its premise in 90+ minutes than a decent episode of THE BOONDOCKS could have managed in 20.

THE HIT (1984): Unusual but hard-to-enjoy existentialist road movie about a pair of British hitmen — a twitchy, vaguely reptillian aging pro (John Hurt) and a cocky, naive young punk (Tim Roth) — transporting an aging former hood (Terrence Stamp) from Spain to Paris, where he's to be killed for having testified against his cohorts 10 years earlier. The target is unnervingly philosophical about it all, but the same can't be said for Maggie (Laura del Sol), a young Spanish girl they abduct along the way, intending to murder her at the earliest convenient opportunity. Watching Stamp drive young Roth up the wall with his c'est la vie attitude is mildly amusing, but the way Maggie is terrorized and brutalized throughout makes the film unpleasant to watch despite its deliberately lackadaisical pace and seriocomic tone. CONTAINS LESBIANS? Nope. VERDICT: One can see what they were going for, but the results are more distasteful than satisfying.

IRISH WISH (2024): Glossy, vacuous fantasy-romance about a professional editor named Maddie Kelly (Lindsay Lohan), who's in love with bestselling author Paul Kennedy (Alexander Vlahos) despite the fact that he's about to marry her best friend Emma (Elizabeth Tan). While they're in Ireland for the wedding, Saint Brigid (Dawn Bradfield) unexpectedly grants Maddie's wish that she, not Emma, be the one to marry Paul, which soon backfires when Maddie falls for hunky photographer James Thomas (Ed Speleers) instead. Intended as inoffensive fluff that relies more on pretty Irish scenery and Speleers' square jaw than on story or characterization, it's not entirely satisfying even on its own modest terms: Maddie's willingness to essentially hijack her best friend's romantic destiny feels meaner than the script is prepared to acknowledge (a problem that the casting of Elizabeth Tan as Emma only accentuates); a subplot involving Paul's reluctance to credit Maddie's contributions to his books raises the question of why she's still willing to work with him, much less marry him; and Jane Seymour is wasted in a pointless supporting role as Maddie's mom, whose attempts to make it to Ireland for her daughter's magically convened wedding keep ending in disaster. CONTAINS LESBIANS? Nary a one. VERDICT: Isn't Lohan getting too old for this sort of thing?

IRMA VEP (1996): Overrated Olivier Assayas behind-the-scenes drama — mostly filmed in a cinéma vérité mumblecore style that makes subtitles mandatory no matter how many languages you speak — starring Maggie Cheung (playing herself, more or less) as a Hong Kong actress who flies to Paris to shoot an artsy Catwoman-inspired remake of a 1915–1916 silent movie serial, a role that requires her to be wedged into a black latex catsuit whose designer (Nathalie Richard) would also like to get into Maggie's pants. (This is only one aspect of the rambling plot, but it's also the only part that's remotely interesting.) Highly regarded by critics for its knowing jabs at French cinema and French film criticism, but if you're not impressed with its cinephile onanism (which has a very narrow appeal even among cinephiles), it's mostly pretty dull. It only really comes to life during a voyeuristic dream sequence in which Maggie imagines herself wandering through her hotel (initially to a soundtrack of Sonic Youth's "Tunic (Song for Karen)") and stealing a necklace from the room of a naked woman who's arguing with her lover on the telephone. CONTAINS LESBIANS? Zoé (the Nathalie Richard character) is expressly into Maggie, but Maggie doesn't seem to reciprocate, so, like many things in this movie, nothing comes of it. VERDICT: If you're not a Cahiers du cinéma contributor looking to see if you were mentioned, you might need an extra cup of coffee to stay awake, catsuits notwithstanding.

SALYUT-7 (2017): Cardboard Russian adventure film about the daring 1985 Soyuz T-13 mission to try to repair the titular space station, which had gone into an uncontrolled spin after the failure of its onboard automated systems. Faced with the risk of the station crashing to Earth in a populated area, two veteran cosmonauts (played here by Vladimir Vdovichenkov and Pavel Derevyanko) managed to dock with the station, thaw out its snow-covered interior, and locate the source of the original malfunction in time to avoid disaster. The film is a technically competent fictionalization of a fairly harrowing real-world adventure, inevitably embellished for dramatic and propagandistic effect (although in the latter respect, it's no worse than FOR ALL MANKIND). Unfortunately, the quality of the effects isn't matched by the script, characterization, or acting, which are all on the level of an old-school American TV movie. CONTAINS LESBIANS? Nyet! VERDICT: Only for committed space nerds.

STUCK (2007): Stomach-churning misanthropic nightmare — allegedly a black comedy, although that would imply that it was funny — about a bitchy nursing assistant (Mena Suvari with cornrows) who hits a newly unhoused man (Stephen Rea) with her car, leaving him embedded in the windshield, horribly injured. Rather than calling 911, she parks the car in her garage and takes a taxi to work in the morning, leaving the man trapped, bleeding, and struggling to summon help. Later, she and her drug dealer boyfriend (Russell Hornsby) attempt repeatedly to murder him in hopes of covering up what she's done. Fun! The story, inspired by an actual incident, hinges on the idea that nearly every single person in the film, from the patients at the nursing home where the Suvari character works to the awful people at the employment agency where Rea has tried in vain to apply, is an irredeemably cruel and selfish monster, with the few exceptions (like a sympathetic homeless man and a young Latino boy who sees the Rea character's plight) serving mostly to prove the rule. As you might expect, it's violent, kind of racist, and definitely not for the squeamish. CONTAINS LESBIANS? No, but you'll be grateful. VERDICT: If you're in a very bad mood, you might find the film's mean-spirited nastiness cathartic, but it's otherwise an unrewarding ordeal.