A male alien disguises himself as a British citizen Thomas Jerome Newton (Bowie, in his first movie role), who crash-lands on earth in hope of transporting water back to his draught-plagued home planet, but in iconoclast Nicolas Roeg’s thrall, THE MAN WHO FELL TO EARTH is much less a heartstring-tugging inter-species tale à la STARMAN (1984) than a rhapsodic welter of total corporeal abandon and existential chaos.
Shot and edited in a desultory but blistering, wired fashion that leaves large portions of elision in its sprawling plot, Mr. Newton is a quick adapter of earthling mannerism and capitalistic canniness, cashes in lucrative patents he immediately accrues masses of fortune and becomes the reclusive wirepuller behind a technology conglomerate, with a figurehead personified by lawyer Mr. Farnsworth (Henry), an implicit gay character whose loyalty is too inflexible for his own good.
While Newton shacks up with an unsophisticated hotel maid Mary-Lou (Clark) in New Mexico, who introduces commonplace human diet to him, booze, church-going and sex, worts and all; a tributary pivots around a skirt-chasing college professor Dr. Nathan Bryce (Torn, in a rapturously predatory mode) merges into the main stream when he is hired as a key technician in fulfilling Newton’s home-returning project, only Bryce soon begins to suspect Newton’s alienness. After revealing his real form to Mary-Lou (which leaves her incontinent and horror-stricken) and leveling with Bryce, a naive Newton is snatched and immured by government agents nearly before his home-returning journey and put under close scientific examination (who tips off the tidings? Bryce or Mary-Lou? We have no clue, maybe Newton is spotted as early as he first emerges, as we glance a suit-attired figure near the commencement).
Marooned on earth and having no means to return to his wife and children, who are languishing on a remote, desert-looking planet, deadly or alive, the television-addicted Newton stays youthful as time wears on, a reunion with an aged Mary-Lou years later blatantly celebrates the film’s most rousing set piece, the “sex and pistol” manifesto in human flesh, copulation and blank gunshots, a heady delirium capturing the epoch’s ethos. A final encounter with Bryce, on the other hand, reveals that earth-stranded Newton might have already assimilated and acculturated to the life as we know it, a sad sack burdened with eternal youth.
An emaciated, auburn-haired Bowie aptly embodies his cult alter ego under pallor, lethargy and an amusing air of self-awareness, his alien comes across as urbane, benevolent, vulnerable, even in front of a dainty Candy Clark, but also strangely disinterested, inscrutable and sexy; Rip Torn and Candy Clark, represent human race’s different sexes, tangibly establish a triangle tie-in with Bowie, though each’s character arc is dismembered and perfunctorily strewn into the scramble which doesn’t go anywhere eventually. When its deadening clamor anticlimactically settles (the foley artists invent a cacophony of noise through the narrative), Roeg’s bash into Sci-Fi sphere is much more self-revealing than horizon-broadening, for what it is worth, it is a hot mess salted with glint of ingenuity.
referential entries: Roeg’s PERFORMANCE (1970, 6.9/10), BAD TIMING (1980, 7.5/10), DON’T LOOK NOW (1973, 8.3/10).
毕竟大卫鲍伊的美貌就会感觉值回票价,很少见这么苍白消瘦的luo体,真的感觉白的发光,女主的身体也好看,总之我lsp了就喜欢这款的
顺便其实这部电影人设挺有意思的,啊,虽然是我自己理解的有意思,外网有些同人文里塑造的这个角色很有意思,我推荐对这部电影有兴趣的人可以去看看(就是那个因为xx而被墙了的国外最大免费同人网站)
顺便就我久远的看纪录片和大卫鲍伊自传小说的模糊记忆来看
宝爷当时精神状态有点不太好,导演是看了纪录片cracked actor才选他主演的,纪录片里苍白消瘦略微神经质的真我吸引住了导演,然后导演和他说,你不用演,就做自己就好了,然后宝爷就去了,一边演戏一边调整自己的状态,虽然说电影拍完了之后也没调整好……ummmm
后来接受采访的时候看起来还是微微焦虑的压抑,但别误会,宝爷脑子很好,说话条理非常清晰并不会胡言乱语,就是看起来有点压抑,而且过于瘦了
这可能是罗伊格最好的电影,它带有一种独特的、在他的另外作品中缺乏的美国气质:一种近乎朴素的自我意识,一种不被文本绑架的自由度——甚至可以说,一种民主。惠特曼最先描述了这些气质;如同惠特曼的作品,这部电影几乎会唤起我们的乡愁,尽管我们并未离开什么地方(这使我想起有一篇关于大卫 · 林奇的文章写道,看他的电影就像体验失去我们从未拥有过的事物)。地球就是这样的世界,一个有着浮士德式力量的符号帝国,外星人通过电视和广播遥望着它并被打动——完全是这样,因为它的表象就是它最深刻的内涵。这些内涵事实上如此深刻,以至于当我们思考它时我们会像Newton那样几乎精神错乱,但随即却奇异地坚定了活下去的欲望。日本元素尤其象征着Newton在地球上不能理解却奇异地被其吸引(cf. 他造的房子)的这一切,也就是人类文明本质中的超现实性。作为电影来看,罗伊格有时近乎病态(我是说MV化)的英国式花哨镜头风格被惠特曼气质调和成崭新的事物,现在来看仍然几乎从不流于庸俗,或因为强有力的语境而不会显得流于庸俗(cf. 戈达尔电影中不可之间戈达尔化的那些元素,比如说风景);在其他作品中呈现为怪癖的导演习惯,例如喜爱闲笔刻画“反面人物”天真无辜的家庭生活,还有时而很严重、也许可以被称为博尔赫斯—爱伦·坡病(片中有一个侍者确实非常像坡)的夸张手法,在这里似乎并不突兀,甚至带来了某种罗伯特 · 奥特曼式的温暖。相比之下,Bad Timing几乎具备完全同样的元素,却是一部完全失败、不可救药的电影。当然,仍然存在一些过分愚蠢的片段需要剪除;虽然我确实极为欣赏(如果不是沉迷于)David Bowie的裸体,但床上开枪那一大段胡闹还是不要这么长为好。罗伊格的电影充满了听觉引文,其依赖音乐的程度或许开塔伦蒂诺之先河(待考证)。在此方面,他(总体而言)品味粗糙,但达到的效果时而奇妙地准确;不过,他从来不在意场景间音乐的连接——肯定也是因为他的作品不可预测的剪辑方式阻止了与配乐家更紧密流畅的合作——这让我相当痛苦。这大概不重要。这是一部美好的电影;它还有一个童话般的结尾,而且,Bowie戴着那顶帽子看上去是如此美妙。
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"I want to go home…I want to go home… Please don't do, you don't understand… Mary Lou!Help me!Don't! No…no! It's stuck…It's stuck. I'll never get'em off. " 孤独、迷惘、又迷人。 他不属于这个世界,他与所有人相异。 借用《Carol》里的一句话:"My angel. Flung out of space. "我的天使,飘渺宇宙,天使逡巡。 剪辑真的挺意识流的哈哈哈,细枝末节多,为了大家宝贵的时间,非宝爷粉或者科幻粉我稍稍拦你们一下。 其实我更希望影片在宝爷出逃,拐进小巷里就结束;亦或是在那个圣诞节之夜就戛然而止。 PS:看了139分钟未删减版,宝爷那么多赤裸镜头给我吓傻了…感觉让我看宝爷的裸体是对他的亵渎了_(:з」∠)_
Landscape with the Fall of Icarus Pieter Breughel c. 1558; Oil on canvas, mounted on wood, 73.5 x 112 cm; Musees royaux des Beaux-Arts de Belgique, Brussels <Musée des Beaux Arts> About suffering they were never wrong, The Old Masters: how well they understood Its human position; how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer’s horse Scratches its innocent behind on a tree. In Breughel’s Icarus, for instance: how everything turns away Quite leisurely from the disaster; the plowman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water; and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, Had somewhere to get to and sailed calmly on. W.H. Auden 1940
一年前看Bad Timing的时候我完全没有记住Nicolas Roeg。这部呕心沥血的实验作品至少在视觉上令我无比享受。论则前卫性我并不认为有多少超脱之处,毕竟他不是以先锋为耀。但枪与性的那段床戏太棒了。Roeg的电影带有明显的人类学视角,疏离,鸿沟,相异,自我迷失。一次奇异之旅,一部上乘之作。
这四颗星都是给你的,鲍叔,但其中没有一颗是因为你的演技……
-Who did you make it (the record) for?-For my wife. She could hear it one day, on the radio.原谅我这里看哭了。ps 大家都吐槽鲍伊的演技,其实我觉得很好啊……
大卫鲍伊一脸随你怎么折腾我已经是个废外星人了的表情,跟纵欲过度了似的。男女主角的乳头都又小又粉。
一言难尽地……怪异。比起自带外星人气质的Bowie,导演的脑回路更像外星人,混乱的多线、闪回,突兀的情感线,诡异的转折……对外星球的联想倒是很有意思,一个滑溜溜的、害怕颠簸的种族hh拿着小电扇同时看七台电视好可爱√
这就算摇滚风格的电影了,声音用得蛮有想法,但镜头未免过于自恋了。断断续续看完,其中的荒诞和疏离,是刻意搅拌而成,而且拌得夹生。
除了香港我实在想不出华人圈哪个地区的人会把<The Man Who Fell to Earth>翻译成《天降财神》。这是一部1976年具有实验性质的科幻电影,影片晦涩且处处渗透着迷茫与绝望,如果您不是大卫·鲍伊的死忠或是资深的科幻迷,真的不需要在这片上浪费时间。
鉴于对男主角的偏爱此片不打分
因为爷爷的颜+橘色头发+0号身材太犀利,谁来告诉我这到底在讲什么?(外星人来地球找水喝然后回不去的思乡故事么)总之,全片审美超级对胃口!!!很多场景反复看了好几遍,导致2小时片长我看了近4小时。太美太美阿阿阿阿,然后我就不晓得在说什么了。
他异常地消瘦,并有一双颜色相异的瞳仁,耀眼的桔色头发更衬得他面白如纸。
有只大美人儿,再闷的片儿都看得下去。(有一段戏宝爷衣衫被女主拽下半边儿,坦着半边肩膀,姿态表情好像被强了一样,逗死我了……然后头发颜色挑染的好美腻!总之想看最销魂的宝爷就选这片儿没错!
金银妖瞳+超薄身材,大宝果然非人哉,鉴定完毕。枪与性,70年代的摇滚精神与先锋实验。
DavidBowie露屌 清晰多图
看到波伊的时候我的胃一阵暖我便知道自己爱上他了。
哦哦爲david bowie的全裸獻上五顆星!
一定是我打开播放器的方式不对,不然我怎么什么也没看懂,就对着BOWIE撸管了……………………
大宝实在人间尤物,美艳动人。整个故事不知道在干嘛。这个金丝雀的角色就是为他定制的,他和傻白甜的爱情故事虽然很无厘头但是不失为一段佳话。一颗星给最后外星人出唱片这个悲伤的设定,大宝好可怜,孤身一人没人照顾,让我难过一会儿。
真是一部悲伤落寞的电影。The man who fell to Earth注定不属于这里,他真诚的对待他遇到的每一个人,可是他也是冷酷的,这就要夸一下David了,他那几个前一秒还温柔和善下一秒就充满杀气的表情转换的太棒。终究,一个异类的身份被发现了,总是躲不过以科学为名的迫害。被囚禁那段太难过,那么有礼貌的说,请不要伤害我的眼睛,可是,还是被粗暴地对待。最后那张专辑,The Visitor, 旅客至少还有归处,可是他在遥远星辰的家已经没有了。。在家的时候,渴望异乡的风景,终于跨越千万光年来到这个渴望的异世界,却又用在思念着家。这样的折磨让人迷失。最后,这是为David Bowie订做的角色嘛,他的气质太贴合了!
本片和《The Hunger》都有David Bowie被女人抱起来的场景,他这么轻吗?
本片是当偶像剧看的 断断续续看了好几遍才看完 也没看懂什么。。。但是bowie绝对够美!