I don't know what to say. Bowie is a transcendant apparition in this fantasy. The day he passed, I knew I missed the chance to connect with a living legend. Watched this twice in a row. It suffers from some cliche' 70's cinematic devices, but the star power is mesmerizing.
Glad I caught this tonight. I love David Lynch but he WISHES he could have directed that weird sex scene involving the gun. Roeg at his most oddly ambitious point. It's outsider art sci-fi all post modern ed up. Bowie has very primal scenes here involving his androgynous ways in the most extreme way and that's something remarkable for film history to have.
In all the years since this movie came out, this is the first I've seen it. It jumps around a bit, some things are not explained at all and should have been. I'm not sure if it's a story about an alcoholic who thinks he's an alien or an alien who turned into an alcoholic. There are just too many missing threads in this movie.
Roeg: maverick and master. If it's sci fi, it's a scientifically fictional meditative song of mythical quandaries. Druglike narration, ellipses in plot make the story visionary and performative. Editing echoes sound against image, weaving fluidly. Candy Clark sparkles, she and Rip Torn introduce themselves through incidental voiceover, secondary characters serve as unreliable barometers of time. Innovative sex. Bowie
A movie I ‘grew up’ with. Multilayered, obscure at times and challenging, the film can be read from as many angles as there are viewers. Roeg was a bold explorer of the nature of perception, time and memory. Whatever story is told, his films leave one with images that stick around forever.
4.5. Don't think I've ever seen this in HD! The world's gone wrong for all the reasons you already know. Roeg's major turn here is to show characters fading into the background of their own ambitions through sheer force of habit. No surprise that Bowie wears that kind of emotional well. Best sequences: "you don't look at all like my father" montage, opening hotel sequence, the wallpaper, the immaculate western stuff.
Read the book when I was younger and had no idea there was a film. Really enjoyed to watch a more slow paced and thoughtful scifi film. Bowie's natural look was perfect for the role. Truly captures the disorienting experience of landing on this planet of primitives.
The human condition—or at least the Bowie condition—as wandering an Earth stranger than any alien world. I made it through the last three Malicks, so claims of incoherence didn't scare me. Roeg may not be an all-time master, but he was visionary at telling a slippery yet lucid story through editing. Bowie's final consolation is moving. It all may turn sane people off, but it cries for cultists. Count me one of them.
A flawed but original science fiction movie. The ending is cryptic, but only because the filmmakers glossed over the details of what was happening. Once I read a summary of the film on another website, the actions of the final 15 minutes made sense. Made during that brief period in the 1970s where movies could be boldly sexual without being classified as porn.
So close to being TRULY awesome. Gotta stick that landing. Moments of GREATNESS in the film, and I'm a sucker for good '70s sci-fi. The first hour and a half is wonderfully odd and sets up an intriguing tale. Then the narrative falls off the rails near the end and never recovers. It just meanders for the last 40 minutes and cannot find its footing. The story collapses and loses its mystery and luster completely.
This film is admittedly a bit of a mixed bag for me... I can't help but admire it, but at the same time I can't help but be frustrated by it. This film is unabashedly unique. It doesn't have a need for continuity or structure. In many cases it skips decades with a single cut. Many of the qualities that I admire the film for are also the same qualities I can't help but be endlessly vexed by.