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Dp-Priscilla-Folle-Du-Desert.Pdf POLYGRAM FILMED ENTERTAINEMENT en association avec THE AUSTRALIAN FILM FINANCE CORPORATION présentent SELECTION OFFICIELLE UN CERTAIN REGARD L’ARGUMENT CANNES 1994 Trois travestis de Sydney signent un contrat pour donner plusieurs représentations de leur spectacle de cabaret à l’autre bout du pays. Pour s’y rendre, elles achètent un bus qu’elles PRIX DU PUBLIC baptisent « Priscilla » et s’enfoncent dans le vaste désert australien. CANNES 1994 FOLLE DU DÉSERT UN FILM DE STEPHAN ELLIOTT Australie – 1994 – couleurs – 1h43 min LE 1ER MARS AU CINÉMA UNE CO-DISTRIBUTION SPLENDOR FILMS / ASC DISTRIBUTION ASC Distribution SPLENDOR FILMS 238 rue du Faubourg St Antoine 2 boulevard Saint-Denis 75012 Paris – France 75010 Paris - France Tél. : 01 43 48 65 13 Tél. : 09 81 09 83 55 / 07 60 29 18 10 [email protected] [email protected] www.ascdistribution.com www.splendor-films.com Relations presse : ASC Distribution TERENCE STAMP Bernadette / Ralph DE FELLINI À LA PRINCESSE MARGARET, DU SWINGING LONDON À STAR WARS, L'ACTEUR BRITANNIQUE EST UNE LÉGENDE QUI A TROUVÉ SA VOIE EN CHANGEANT SA VOIX... Au début des années 1960, Terence Stamp a changé de voix. Entendons-nous bien. Il n'a pas mué comme un banal adolescent, il a véritablement transformé sa façon de parler. Il a effacé son accent, son débit, son timbre et il s'est offert une nouvelle voix. Elle est grave, posée, ponctuée de silences qu'on ose à peine briser. Elle aura traversé un demi- siècle pendant lequel Stamp fut successivement un pilier des Sixties, puis une incarnation sur grand écran du dandysme britannique. « Vous ne parlez donc jamais avec votre vraie voix ? » L'œil bleu acier sourit par-dessus la tasse de thé noir. L'acteur de soixante-quatorze ans répond : « Oh non. Ce que vous entendez là, ce n'est pas vraiment ma voix. » Stamp peut, de temps en temps, si on le lui demande, retrouver son accent saccadé des faubourgs de Londres. Une voix qui sent les fins de marché, le chauffage au charbon, le minuscule appartement de son enfance. On comprend ce qui l'a intéressé dans son nouveau film A Song for Marion. Il y interprète un homme qui perd sa femme et qui, pour exprimer son amour et sa peine, se met à chanter dans une chorale. Un homme qui trouve, littéralement, sa voix. « Je me suis inspiré de mon père. Il était dans la marine pendant la guerre et je ne l'ai pas connu durant mes premières années. Quand il est revenu, il était fermé à toute émotion. Il n'a jamais compris ma vocation d'acteur. Dans notre milieu, c'était tout simplement impossible. » A dix-huit ans, Terence quitte son quartier et s'inscrit à un cours de théâtre. Repéré par Peter Ustinov, il tourne Billy Budd quatre ans plus tard (en 1962). « Je me souviens de l'avant-première. J'étais au premier rang avec mes parents. Soudain les lumières se sont rallumées et la salle s'est levée pour applaudir. J'étais arrivé, le plus dur était passé. Là, je me suis dit : "Que vas-tu faire de ça ?" Et ma réponse a été : "Je veux une longue carrière". » C'est Laurence Olivier qui lui conseille de retravailler sa voix. « Ton physique changera. Plus il va changer, plus ta voix va prendre de l'importance. » C'est ainsi que Terence Stamp acquit sa nouvelle voix, devint une idole et plongea dans les Sixties. ICÔNE DU SWINGING LONDON Stamp travaille avec les plus grands : Wyler (L'Obsédé, 1965), Losey (Modesty Blaise, 1966), Pasolini (Théorème, 1968), Fellini (Histoires extraordinaires, 1968). Des films très exigeants qui ne remplissent pas le box-office mais qui font de lui un pilier des soirées du swinging London. Il partage un appartement avec Michael Caine, fait la couverture des magazines les plus glamour. Dans une société britannique a priori hermétique, l'acteur s'intègre parfaitement à l' « upper class ». « C'est la "middle class" qui a toujours eu du mal à trouver sa place en Angleterre, pas le prolétariat. Eux seuls ont des velléités de s'élever. Comme l'aristocratie, nous savons très bien où nous situer. Ainsi, je m'entendais parfaitement avec la princesse Margaret. Elle m'expliquait combien elle avait eu du mal à se trouver un mec, comment elle avait passé son adolescence à fantasmer sur les jardiniers qui travaillaient sous les fenêtres de Buckingham Palace. » Stamp éclate de rire, du canapé. Ce sont des pieds calleux. Des pieds qui n'ont pas connu de pédicures, qui un rire qui vient de très, très loin : « Nous vivions une période exceptionnelle par la musique ont foulé les trottoirs de l'East End, les quais de Calcutta, le tapis du Festival de Cannes et et aussi par l'écriture. Des gens comme Pinter se sont mis à créer des personnages qui la moquette des palaces les plus luxueux. Le droit, confie-t-il, est un peu plus grand que nous ressemblaient, des héros que pouvaient jouer des jeunes loups issus des faubourgs. le gauche. Terence Stamp s'est modelé une voix d'acteur et s'est sculpté une allure de Jusqu'au jour où, pour une raison que j'ignore, tout s'est arrêté. Les années 1970 sont séducteur. Reste cette paire de pieds qu'il fixe intensément, comme un repère authentique, arrivées, le public a voulu quelque chose de différent. J'incarnais tellement les années une part de lui qui sait d'où il vient et qui témoigne du chemin parcouru. Le talon d'Achille 1960 qu'on m'a écarté. J'étais fini... et je n'avais que trente ans. » du gentleman vagabond. Adrien Gombeaud, Les Echos, le 26/04/2013 DRAG-QUEEN Stamp rencontre alors un gourou et part s'installer en Inde. Il écumera les ashrams pendant FILMOGRAPHIE SÉLECTIVE neuf ans. Dans les années 1970, il n'apparaît plus que dans des productions obscures, survivant en vendant les millésimes accumulés dans sa cave au temps de sa gloire. Et puis, 1965 : L'Obsédé (The Collector) de William Wyler : Freddie Clegg en 1978, un télégramme arrive d'Hollywood : on lui offre le rôle du général Zod, dans deux 1966 : Modesty Blaise de Joseph Losey : Willie Garvin , aux côtés de Christopher Reeve et de Marlon Brando. Le premier blockbuster de Superman 1967 : Loin de la foule déchaînée (Far from the madding crowd) de John Schlesinger : Sgt. sa carrière. Il jouera ensuite des personnages au regard glacial et à l'accent précieux dans Francis "Frank" Troy The Hit de Stephen Frears, Wall Street d'Oliver Stone, L'Anglais de Steven Soderbergh ou plus tard Star Wars, épisode 1 de George Lucas. Souvent des « archétypes » admet-il, qu'il 1967 : Pas de larmes pour Joy (Poor Cow) de Ken Loach : Dave Fuller s'efforce ensuite de faire évoluer et de nuancer par son travail d'acteur. Cette résurrection 1968 : Théorème (Teorema) de Pier Paolo Pasolini : le visiteur passe aussi en 1994 par le flamboyantPriscilla, folle du désert, délirante épopée 1977 : Rencontres avec des hommes remarquables (Meeting with remarquable men) de d'une drag-queen dans l'Outback australien. « J'ai joué ce rôle le plus sérieusement du Peter Brook : Prince Lubovedsky monde. J'ai pensé à Lady Di, à Julie Christie, Silvana Mangano... à toutes les femmes sublimes que j'ai croisées ou aimées dans ma vie. » Bien entendu, de Joan Collins à 1978 : Superman de Richard Donner : Général Zod Brigitte Bardot ou le mannequin Jean Shrimpton, les femmes font partie de la mythologie 1983 : The Hit de Stephen Frears : Willie Parker de Stamp. Une chanson des Kinks le décrit même traversant Waterloo Bridge au bras de 1984 : La Compagnie des loups (The Company of Wolves) de Neil Jordan : le Diable Julie Christie. « Vous savez, murmure-t-il, durant ma jeunesse dans le East End, les filles ne me remarquaient jamais. Je n'avais aucun succès. D'ailleurs, sérieusement, la caméra 1986 : L'Affaire Chelsea Deardon (Legal Eagles) d'Ivan Reitman : Victor Taft m'adorait mais je n'ai jamais été aussi beau que ce qu'on a pu dire ou écrire. Mon allure, 1987 : Le Sicilien (The Sicilian) de Michael Cimino : Prince Borsa je l'ai entièrement construite. Ensuite, c'est vrai que j'ai eu du succès auprès des femmes, 1987 : d'Oliver Stone : Sir Larry Wildman même si on ne raconte jamais mes nombreux échecs... » Terence Stamp n'aura pas connu Wall Street l'histoire d'amour qui traverse les années, celle de ses parents, celle qu'il interprète dans 1988 : Futur immédiat, Los Angeles 1991 (Alien Nation) de Graham Baker : William Harcourt A Song for Marion. « Bien entendu, c'est quelque chose que je regrette. Je crois que j'aurais 1993 : L'Affaire Karen McCoy (The Real McCoy) de Russell Mulcahy : Jack Schmidt pu vivre heureux avec une seule femme... Cependant, quand mon père est mort, ma mère n'avait plus de raison de vivre. Alors je me dis qu'à un moment ou à un autre on affronte 1994 : Priscilla, folle du désert (The Adventures of Priscilla, queen of the desert) de Stephan tous la solitude. » Elliott : Bernadette (Ralph) 1998 : L'Anglais (The Limey) de Steven Soderbergh : Wilson GENTLEMAN VAGABOND 1999 : Star Wars, épisode I : La Menace fantôme (Star wars : Episode I - The Phantom Menace) de George Lucas : Chancelier Valorum Aujourd'hui, Terence Stamp n'a pas d'adresse. Depuis dix ans, il ne vit que chez des amis, dans les hôtels et sur les tournages. Ses quelques costumes, toujours impeccables, 2001 : Ma femme est une actrice d'Yvan Attal : John l'attendent dans les garde-meubles de diverses villes du monde.
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