Priscilla - Königin der Wüste
Originaltitel: The Adventures of Priscilla, Queen of the Desert
Zwei Drag-Artisten und eine Transgender-Frau reisen durch die Wüste, um ihren einzigartigen Stil des Kabaretts aufzuführen.Zwei Drag-Artisten und eine Transgender-Frau reisen durch die Wüste, um ihren einzigartigen Stil des Kabaretts aufzuführen.Zwei Drag-Artisten und eine Transgender-Frau reisen durch die Wüste, um ihren einzigartigen Stil des Kabaretts aufzuführen.
- 1 Oscar gewonnen
- 11 Gewinne & 19 Nominierungen insgesamt
Rebel Penfold-Russell
- Logowoman
- (as Rebel Russell)
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What unlikely trio to fall in love with, just as unlikely as the landscape. When a movie fits so well without a tag that links it to anything else in its historic film context, it can only be described as a happy accident. Premeditated for sure, but accident nonetheless. Terence Stamp, is an actor with a spectacular career. Varied and surprising. It defies description, but let me try. Peter Ustinov's "Billy Budd" William Wyler's "The Collector" Federico Fellini's "Spirit of the Dead" John Schlesinger's "Far From The Madding Crowd" Pier Paolo Pasolini's "Teorema" Joseph Losey's "Modesty Blaise" Oliver Stone's "Wall Street" Stephen Frear's "The Hit" Richard Donner's "Superman" "Steven Sodebergh's "The Limey" Am I making my point? He is an actor for all seasons, beautiful beyond belief to boot. In "The Adventures of Pricilla Queen of The Desert" he unveils another unexpected side to his considerable talents. A Woman. And what a woman, a Meryl Streep with a past and, thanks to director Stephan Elliot, with a future. Dressed by geniuses. More human than ever. He is flanked by two spectacular Aussies. Hugo Weaving (The Matrix) giving a performance of such tenderness that even my brother in law, a homophobic macho man of the first order,loved him. And Guy Pearce (L A Confidential) He is such a beautiful,sexy, funny girl that made me long for a her/he all to myself. Some other monstrously cloned movies were rushed into production trying to capitalize on the success of Pricilla. They all failed miserably and rightly so. Frank Capra, accepting his AFI Lifetime Achievement Award sent a profound and heartfelt advise to young filmmakers. "Don't follow trends, start new ones" Well done Mr Elliot. Well done.
...and I don't say "great" lightly. This isn't merely some tired road comedy in drag, it's a fun, at times surprisingly moving story.
Part of my immense surprise comes because I'd never really understood the appeal of drag shows. While I'm not sure I'm any bigger a fan, I definitely found myself drawn into the little universe created here.
The central characters are real people who manage to play to stereotypes without succumbing to them. I was frankly amazed by Terence Stamp, an actor who has made a career playing dangerous, macho types, and made a surprisingly compelling and believable ageing transsexual. The novelty quickly wore off; it was one of those rare performances that was just totally without affect. Honestly, one of the best performances I've ever seen.
Fun, as I expected, but there's a genuine affection and depth here. A very pleasant surprise.
Part of my immense surprise comes because I'd never really understood the appeal of drag shows. While I'm not sure I'm any bigger a fan, I definitely found myself drawn into the little universe created here.
The central characters are real people who manage to play to stereotypes without succumbing to them. I was frankly amazed by Terence Stamp, an actor who has made a career playing dangerous, macho types, and made a surprisingly compelling and believable ageing transsexual. The novelty quickly wore off; it was one of those rare performances that was just totally without affect. Honestly, one of the best performances I've ever seen.
Fun, as I expected, but there's a genuine affection and depth here. A very pleasant surprise.
This film goes down in my books as one of the best. The emotion involved with everything that happens is just heartwrenching. One moment i was laughing the next in tears. I would reccomend this film to anyone who wants a realistic look at gay life in the 80's. It's amazing how narrow minded people can be, but these people show us the true meaning of life, love, fatherhood, and most of all friendship and loyalty. Using humor and good natured prodding of controversial issues, the filmmaker is able to break through the barrier of bias, and get to the core of these three magnificent people. Fantastic Job!
Chris Rogers
Chris Rogers
When few countries were pushing the boundaries of the LGBTIQ community this beautiful movie tested the waters. It made Australia grow up in an era when economically everyone wanted to go back to a more comfortable time. It came out around the same time as Muriel's Wedding which is equally about a run down family of characters who are better when they come together. This movie is a prime example of Australian cinema.
1994 proved to be rather a good year for Australian movies, with both this and MURIEL'S WEDDING delighting international audiences with their cheeky over-the-top humour, panache, pathos, winning performances, and fun soundtracks. Both, of course, heavily featured the music of ABBA (Australia has long had a particular love-affair with the Scandinavian quartet - it was probably no coincidence that it was decided to shoot the group's own feature, ABBA: THE MOVIE, during the Australian leg of their 1977 world concert tour). In MURIEL'S WEDDING the band's music is perhaps treated with more reverence and respect - Muriel Heslop is, after all, a huge fan, and the film itself is of a far more serious, distinctly black nature. PRISCILLA, on the other hand, constantly revels in its own bitchiness and catty humour, and has countless memorable, and in many cases unprintable, lines of dialogue, including stabs at the supergroup - "I've said it once and I'll say it again - no more f***ing ABBA"; "What are you telling me - this is an ABBA turd?" Of course ABBA is merely one of MANY verbal targets for the film's three main protagonists, but far from this alienating us from any of them, we cannot help but be swept along by the sheer garish joy of the entire venture.
The basic plot focuses on recently bereaved transsexual Bernadette (a magnificent, hardly recognizable Terence Stamp), who teams up with two younger drag artistes, sensitive Tick/Mitzi (Hugo Weaving) and screaming queen Adam/Felicia (Guy Pearce), so that they can travel half-way across Australia on board an all but dilapidated bus named "Priscilla", in order to perform a cabaret act at a remote casino run by an ex-partner of Tick's, soon revealed to be, horror of horrors, a WOMAN! Along the way they encounter all sorts of absurd situations and individuals almost as strange and unconventional as they themselves are, whilst Bernadette, against her better judgement, falls for gruff mechanic Bob (Bill Hunter, who also features in MURIEL'S WEDDING) that they pick up en route, and in so doing he loses his "mail-order" bride Cynthia (Julia Cortez), who in one especially memorable scene does things with ping-pong balls you just don't want to imagine!
The performances are really the thing here - Terence Stamp (who won numerous accolades for his cast-against-type labours) is amazing and totally credible as the quietly dignified transsexual, and it is hard to believe that Weaving and (especially) Pearce have not worked as flamboyant, lip-synching drag queens all their professional lives! The gaudy, outrageous costumes won a well-deserved Oscar, and the photography of the barren, surreal landscape is also masterful, as is Stephan Elliott's creative direction and hilarious, ultimately poignant script. The soundtrack may not be to everyone's taste, but it has enough camp classics to satisfy anyone yearning to relive the tacky heyday of the '70s - including ABBA's "Mamma Mia", the Village People's "Go West", and Gloria Gaynor's superb "I Will Survive", given a gloriously inventive rendition to a bunch of appreciative aboriginals, with one of their number joining in most enthusiastically.
A true kitsch classic, then - well worth re-visiting, again and again ... and again.
The basic plot focuses on recently bereaved transsexual Bernadette (a magnificent, hardly recognizable Terence Stamp), who teams up with two younger drag artistes, sensitive Tick/Mitzi (Hugo Weaving) and screaming queen Adam/Felicia (Guy Pearce), so that they can travel half-way across Australia on board an all but dilapidated bus named "Priscilla", in order to perform a cabaret act at a remote casino run by an ex-partner of Tick's, soon revealed to be, horror of horrors, a WOMAN! Along the way they encounter all sorts of absurd situations and individuals almost as strange and unconventional as they themselves are, whilst Bernadette, against her better judgement, falls for gruff mechanic Bob (Bill Hunter, who also features in MURIEL'S WEDDING) that they pick up en route, and in so doing he loses his "mail-order" bride Cynthia (Julia Cortez), who in one especially memorable scene does things with ping-pong balls you just don't want to imagine!
The performances are really the thing here - Terence Stamp (who won numerous accolades for his cast-against-type labours) is amazing and totally credible as the quietly dignified transsexual, and it is hard to believe that Weaving and (especially) Pearce have not worked as flamboyant, lip-synching drag queens all their professional lives! The gaudy, outrageous costumes won a well-deserved Oscar, and the photography of the barren, surreal landscape is also masterful, as is Stephan Elliott's creative direction and hilarious, ultimately poignant script. The soundtrack may not be to everyone's taste, but it has enough camp classics to satisfy anyone yearning to relive the tacky heyday of the '70s - including ABBA's "Mamma Mia", the Village People's "Go West", and Gloria Gaynor's superb "I Will Survive", given a gloriously inventive rendition to a bunch of appreciative aboriginals, with one of their number joining in most enthusiastically.
A true kitsch classic, then - well worth re-visiting, again and again ... and again.
Wusstest du schon
- WissenswertesAs of 2024, this is still the most recent contemporary-set film (i.e. non-period, non-fantasy, non-sci-fi) to win the Academy Award for Best Costume Design.
- PatzerWhen they are in the bar in Broken Hill, Old Shirl comes over and slaps her right hand down on Bernadette's. Then, in the next camera shot, it's her left hand.
- Zitate
Bernadette: [to Shirley] Now listen here, you mullet. Why don't you just light your tampon, and blow your box apart? Because it's the only bang you're ever gonna get, sweetheart!
- Crazy CreditsA scene after the credits finish shows an Asian garden where a blow up doll (released earlier in the movie in Australia) lands on a man, who looks quite puzzled.
- Alternative VersionenThe film was "Shown in Dragarama" at select theatres at the time of release. This involved some theatres using a mirror-ball and colored lighting during the "Finally" dance number.
- VerbindungenEdited into Picnic at Wolf Creek (2006)
- SoundtracksI've Never Been To Me
Written by Ken Hirsch and Ronald Miller
Performed by Charlene
Published by Stone Diamond Music Corp. / Jobete Music
Courtesy Motown Record Company LP
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Details
- Erscheinungsdatum
- Herkunftsland
- Sprachen
- Auch bekannt als
- Las aventuras de Priscilla, reina del desierto
- Drehorte
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- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Bruttoertrag in den USA und Kanada
- 11.220.670 $
- Eröffnungswochenende in den USA und in Kanada
- 219.433 $
- 14. Aug. 1994
- Weltweiter Bruttoertrag
- 11.302.168 $
- Laufzeit1 Stunde 44 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 2.35 : 1
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By what name was Priscilla - Königin der Wüste (1994) officially released in India in Hindi?
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