Showing posts with label David Bowie. Show all posts
Showing posts with label David Bowie. Show all posts

Wednesday, September 14, 2022

Otherworldly Worldly

Moonage Daydream (2022) - Morgen Moonage Daydream The Queen is dead. She lived to be 96 years old. David Bowie passed on in 2016, at only 69. There is no justice in this world.

More than any other cultural icon's death, Bowie's passing was most shocking to me. It's because I didn't think he was capable of dying. For more than half a century, his presence in our lives, in every facet of art and creativity was undeniable. Me and my wife, aging Gen Xers, have 4 Bowie t-shirts in our daily wardrobe rotations between us, Man Who Fell to Earth art print as well as Aladdin Sane vinyl album cover adorn our living room wall, and we both consider The Rise and Fall of Ziggy Stardust and the Spiders from Mars, the perfect album from start to finish. In short, our Brooklyn apartment is better equipped with Bowie memorabilia than the SoHo Bowie pop-up store.

So how do you go on about making a documentary about one of the greatest musicians of our time, whose illustrious career spans more than five decades? What should it look and sound like? How do you capture a legend who knew little boundaries?

Brett Morgen, music documentarian is best known for his innovative Kurt Cobain doc, Montage of Heck back in 2015. With the unprecedented access he got to make that film, he made sure that the film is from the subject's point of view, not anyone else’s'. Concentrating on the music itself was the key. Moonage Daydream, narrated by Bowie in his own words then, with the wealth of unseen pristine materials of him in his most gorgeous days, highly benefits Moonage Daydream. And Morgen's approach here is more resonant and better fit here than Montage with because after all, it is Bowie, whom the camera adored. I have to hand it to Morgen, to have a vision for a kaleidoscopic biographical documentary to convince the estates of these musicians to grant him compete access to the precious, never-before-seen materials.

So how this shy boy from Brixston become a music, film, theater, dance and fashion icon? From the get-go, with the 70 mm IMAX projection and Dolby sound system, Moonage Daydream wastes no time blasting Bowie singing All the Young Dudes in concert footage. Morgen jumbles the pristine footage of Bowie in a Ziggy Stardust tour, backstage interviews, talk show appearances, his days in Singapore and the Blackstar music video to set the tone. Then the film slides into a chronological career of Bowie for the next two hours. It's a loud, candid, glorious and fitting celebration of the life of an artist.

Bowie's transformations and delving into different music genre over his career is well documented. The film highlights his endless searching and candid moments of reflection; from his glam rock days where he experimented with cut-up lyrics, to his grunge Berlin days when he went there to isolate himself and find new sound in electronica, to his hugely successful pop music stint in the 80s, to industrial sound of the 90s and 2000s. In candid interviews, he regrets and self-conscious about some of the career paths he has taken. Like appearing in a glitzy Pepsi commercial with Tina Turner.

We learn that even though he dabbled in painting and sculpture (in striking German Expressionism style), he never really exhibited them in public because he didn't think they were good enough.

Morgen also uses Stan Brakage inspired animation of exploding primary colors to accompany the glorious music, punctuating the isolated beats and guitar riff that starts many of the Bowie's famed songs. More than anything, Moonage Daydream sounds and feels like a rousing concert documentary where one can't help but feeling emotional several times.

A consummate professional and entertainer, Bowie worked on Blackstar album while he was dying of cancer. The album is staggeringly beautiful in its content, contemplating his entire career, his mortality and transient human life. He also became the first musician to reach No.1 spot after his death.

Moonage Daydream is definitely the maximalist gift for Bowie fans. And no doubt, it will introduce to one of the most, if not the most, important artists of our time, who was taken too soon, to a new generation of music lovers in a big way. See it big and see it loud. It's one of the best movie going experience of the year.

Moonage Daydream opens in Theaters and IMAX globally on 9/16.

Thursday, January 28, 2016

Can't Sleep? Drive to an Airport, See What Happens

Into the Night (1985) - Landis
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Average schulb Ed (Jeff Goldblum) has a bad case of insomnia. After finding out his wife is cheating on him, he aimlessly drives to LAX one night. There he rescues, Diana (Michelle Pfeiffer), a damsel in distress, and dove right into whole lotta trouble. Like many 80s movies, Into the Night boasts completely overblown plot so unnecessarily intricate and wordy yet mercilessly unexpositional- it's almost charming. It involves some Iranian imperial emeralds smuggling (up in Pfeiffer's tight butt) and Iranian Gestapos (including director John Landis doing Marx Bros routine as one in a quartet of bumbling idiot goons) and other interested parties. It also features David Bowie as a contract killer type, and flurry of other director cameo appearances - Roger Vadim, Paul Mazursky, Johnathan Demme, etc.

Whatever happened to Michelle Pfeiffer? She is so luminous in Into the Night. She looks mighty foxy in her little red leather jacket and tight jeans. The movie is much a do about nothing but has a goofy, screwball comedy charm in the backdrop of 80s excess.

Tuesday, October 5, 2010

Culture Crash

Merry Christmas Mr. Lawrence (1983) - Oshima
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I remember watching this as a teenager on VHS. It was cool to see David Bowie buried up to his neck in the ground. I didn't fully understand what it was about though. Now Criterion put out a swanky 2 disc set of Mr. Lawrence, I decided to revisit it.

Oshima examines the dynamics among military machismo, homosexuality, beauty, sadism and generosity in the lush green setting of WWII Japanese internment camp in Java. Bowie is the case of perfect casting here as an object of desire. Young Ryuichi Sakamoto(also did a synth heavy score for the film) is also memorable as stoic Japanese officer who gets undone by a mere pair of kisses on the cheeks. But the standout is undoubtedly cherubic Takeshi Kitano as sgt. Hara. He is likable, terrifying and all too human all at once.

There are some odd choices, like flashback sequences with maj. Collier(Bowie) and his little brother - guilt of leaving his brother to the school bullies scarred him. Not a bad exposition but it's an awkward fit to put in the later part of the film. The swelling music gets irritating at times too. Oshima drives home the message that there are no right side in the war a bit too often. But he doesn't lose the sight on human desire and goodness of human heart. I really like this film.