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DVD The Man Who Fell to Earth - Criterion Collection
While other films directed by Nicolas Roeg have attained similar cult status (including Walkabout and Don't Look Now), none has been as hotly debated as this languid but oddly fascinating adaptation of the science fiction novel by Walter Tevis. David Bowie plays the alien of the title, who arrives on Earth with hopes of finding a way to save his own planet from turning into an arid wasteland. He funds this effort by capitalizing on several highly lucrative inventions, and in so doing becomes the powerful leader of an international corporate conglomerate. But his success has negative consequences as well--his contact with Earth has a disintegrating effect that sends him into a tailspin of disorientation and metaphysical despair. The sexual attention of a cheerful young woman (Candy Clark) doesn't do much to change his outlook, and his introduction to liquor proves even more devastating, until, finally, it looks as though his visit to Earth may be a permanent one. The Man Who Fell to Earth is definitely not for every taste--it's a highly contemplative, primarily visual experience that Roeg directs as an abstract treatise on (among other things) the alienating effects of an over-commercialized society. Stimulating and hypnotic or frightfully dull, depending on your receptiveness to its loosely knit ideas, it's at least in part about not belonging, about being disconnected from the world--about being a stranger in a strange land when there's really no place like home. --Jeff Shannon.
Review(s): DVD The Man Who Fell to Earth - Criterion Collection
First impressions on a strange film - see it , but rent first
I had thought for a while about purchasing this Criterion edition . One need have no hesitation in buying their actual product most of the time due to the quality of the presentation . I have to say I was impressed as usual , as I own a few of their DVD's , though their latest releases have not been to my taste .
This film has certainly left an impression on me , but not a good one . I had read it was a 'downer' and that is certainly true . Among the highlights of this film are those times when it seems David Bowie is acting very well indeed .
One could uncharitably argue that since he is playing an alien trying to be human , the viewer can give him a bit of leeway .
I did enjoy his performance and that was the main selling point for me , though I do own other films by the same director .
My problem has been wanting to sit through them , as they are non linear narratives , which can be fascinating .
Other times , that approach can simply be boring and/or wearing to the viewer .
I'm sure the film is beautifully shot , but even I though I usually enjoy the widescreen image , this film seemed a bit on the empty side somehow . Maybe this is supposed to reflect the tone of the story .
I recommend you rent this first - it is a cross between a science fiction film and an art film . I suppose there are some elements that fit into the 70's paranoia films about big business , such as THE PARALLAX VIEW . The story takes a while to come together , which was also a little taxing .
It is a film about failure and disappointment .
You will see an unforgettable film in a great package .
However , be prepared to be depressed - watch it when you're in a good mood , as you can only go south from there .
The "Alien" looking better than ever
It was an odd year. 1976 saw the release of Logan's Run with its occasionally heavy handed parable about the youth culture, Ralph Bakshi's Wizards gathered steam at the box office and included a trailer for some movie called Star Wars. Along came Nicolas Roeg with his arthouse science fiction epic and totally mystified everyone. David Bowie is perfect as the alien in this classic science fiction film. He's left his arid, dying planet and come to Earth in hopes that some of "his" inventions could create enough capital so that he can take resources from our planet to save his.
Unfortunately, Bowie's character pretends to be human all too well--he's sucked into the very flaws that cripple humanity. He becomes a victim of our culture rather than master of it. Roeg's film is fragmented and spooky (particularly the scene where Candy Clark discovers that Bowie's character has various attachments to make him seem human). The visually unsettling photography and editing help bring an edge to the film. Roeg manages to fuse science fiction to his European art sensibilities very well. In fact, Man is probably Roeg's most powerful film outside of Don't Look Now his gothic take on the horror film.
I'll get to the point about the difference between the excellent Anchor Bay release and the Criterion release. Both studios had released this film for the first time (there was a previous Fox-Lorber bare bones edition). The Criterion edition looks sharper with better clarity and richer color than the Anchor Bay edition. Detail is better on the Criterion edition and there appears that the Anchor Bay release wasn't digitally restored as the colors are a bit muted and faded in some sequences. Both feature the full length European cut that Roeg intended for the US market as well. The 5.1 Dolby Digital Surround Sound mix for the Anchor Bay is superior to the 2.0 original soundtrack on the Criterion. The entire sound system is used nicely but keep in mind this was never meant to sound as aggressive as the 5.1 ES (or 6.1) releases of more recent movies.
As to the extras, both have excellent extras. The Anchor Bay features a short documentary "Watching the Alien" (a great play on words related to one of Bowie's songs as well as the film), the original theatrical trailer, TV spots, talent bios, a good poster and still gallery as well as Paul Mayersberg's original screenplay in DVD-ROM format. All of these are great extras to be sure and are included on the second disc which allows for a higher bit rate for the movie and, hence, very good video as well. A note about the packaging--Anchor Bay's edition of the movie was fine but came in a very flimsy case with a slip over sleeve. When you took that off the movie and extras disc were held by flimsy plastic holder. The exterior had an image from the original poster and there was a short booklet included as well discussing the film. While normally I could care less about packaging it does bug me when it's as poorly designed as this one which seems like a compromise between an Amray (hard plastic) and snapcase (what Warner used until recently for all their releases). It doesn't stand up to wear and tear well and the discs could potential fall out.
Criterion's transfer is a new, restored high definition digital transfer supervised by Roeg (which explains the color corrections compared to the Anchor Bay edition which was pulled from restored negatives but done three years before). The audio commentary isn't new but is from 1992 (I believe it may be the same one on the original Criterion laserdisc release) and features Roeg and star David Bowie recorded together and Buck Henry recorded on his own. The commentary track is exceptional but that will only matter if commentary tracks are important to you. Some folks never listen to them and never take more than a cursory look at the extras. The second disc includes excellent audio interviews with May Routh who designed the costumes and production designer Brian Eatwell. There's another audio interview with author Walter Tevis recorded in 1984 in which Tevis discusses his novel and the film. There's some great stills, behind-the-scenes photos dominate these and were taken by David James. This section features an introduction by James. The trailers are included as is Tevis' original novel. Finally there's a 28 page critical essay by Graham Fuller about the film and an appreciation of novelist Tevis by another novelist Jack Matthews. Criterion's packaging has the movie in a hard Amray two disc holder and, in turn, within a cardboard cover that houses the movie and the novel. It's very nice and will stand up a better to wear and tear.
Both versions have their strong points. If you purchased the Anchor Bay edition and are satisfied with the exceptional transfer, then you may not want to purchase this new set. The crisper, sharper images and richer colors for the Criterion is the strong selling point while the audio 5.1 on the Anchor Bay has nice presence and sounds better than the audio mix for the Criterion edition. The extras for both are quite good although the commentary track gives the Criterion edition the edge in my mind. The image quality and color are better on the Criterion Edition of "Man" but the Anchor Bay remixed sound has the edge for audio. If you don't have the Anchor Bay or are looking to upgrade to a better looking picture, the Criterion is the stronger of the two. Criterion wins by a nose due to the extra featurettes and audio commentary as well as the Roeg supervised transfer.
#1 on my list of strange movies
Way back, when this came out, I was the only one I knew who liked it. I still like it, and I'm still not completely sure I know why.
It's about mood, without being a moody film itself. It's a study in loneliness, the feeling of isolation that can only come from other people - never from mere solitude. In the 1970s, the inter-racial couple and the same-sex couple were novel, maybe a bit hard to take, but effective. They said a lot about the many ways to be together. Tommy (David Bowie) and MaryLou said a lot about the ways to be apart, no matter how close. I've known women like MaryLou, unsophisticated and uncomplicated, but devoted. That created a tilted asymmetry between them, with components that are nothing to be proud of. Still, their affection was real. It's almost painful to see an alcoholic buffer rising up between them, blocking both the pain and the pleasure.
It's stylish and nonlinear, and has the humorous moment where Bowie seems to work at singing badly (the only time he does sing in this movie). It somehow documents emotion without itself bein emotional. And it's still strange.
//wiredweird
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