Published via Ecency

(source:tmdb.org)

Among some critics and scholars, the period between 1967 and 1977 is seen as the Golden Age of Science Fiction Cinema. Before George Lucas changed the Hollywood genre paradigm with Star Wars, science fiction films were either more ambitious in exploring various ideas or more diverse in their methods of exploration. One of the last and more interesting films from that period was The Man Who Fell to Earth, the 1976 science fiction drama directed by Nicolas Roeg.

The plot is based on the eponymous novel by Walter S. Tevis. The protagonist, played by David Bowie, is a humanoid alien sent to Earth from a distant planet suffering a devastating water shortage. His spaceship lands in New Mexico, after which he disguises himself as a human and takes on the identity of an Englishman named Thomas Jerome Newton. He gets in touch with attorney Oliver Farnsworth (played by Buck Henry) and, using his knowledge of superior alien technology, begins to file a series of patents that would quickly bring him wealth and allow him to build a business empire with the ultimate aim of constructing a spaceship able to bring precious liquid to his home planet. Along the way, he meets young hotel clerk Mary-Lou (played by Candy Clark) who feels attracted to the eccentric and strange-looking tycoon, while he, in turn, begins feeling attracted to Earth culture and its various aspects, which include music, alcohol and sex. In the meantime, his rapid rise to fortune and influence, as well as many strange details, have intrigued chemistry professor Nathan Bryce (played by Rip Torn) who begins following “Newton” in order to prove that he is not what he claims to be. He is also followed by US government officials whose interference might prove fatal to his plans.

The Man Who Fell to Earth has achieved cult status. It could be argued that such a lofty reputation has less to do with cinephiles’ enthusiasm and more to do with the fans of David Bowie, for whom his screen debut represented not only his most iconic, but also his best role. Bowie is indeed very effective in the role, and it could be said that the character of “Newton” was almost tailor-made for him. Not only had Bowie explored science fiction themes as well as gender-bending issues of identity in his earlier musical career, but he also, according to his later testimony, had serious problems with drug addiction during production which left him “not remembering being there”. Whether Bowie was indeed “out there” or not (as claimed by his colleague Candy Clark, who actually commended his professionalism), he perfectly played the role of a person who was at odds with his surroundings as much as someone forced to live on an alien planet.

Bowie was quite fortunate with this film because, without him, many of the flaws of The Man Who Fell to Earth would become too apparent. Those shortcomings are mostly due to Roeg who, while directing, wears his “art film” credentials on his sleeve. The film is chaotically edited, full of symbolic shots, but the audience at the time probably cared more about the large amounts of sex, nudity, violence and some rather shocking images (including the way Mary-Lou reacts when she finally discovers that “Newton” isn’t human). Yet, the film, which also uses a somewhat unusual soundtrack, somehow works as a coherent whole despite some of the scenes and even characters being slightly confusing. This is especially the case in the final sections of the film, which could be interpreted less as a story about an alien being stuck on a primitive planet, and more as an allegory of a washed-up rock star indulging in self-destructive behaviour after insulating himself from the world through fame and fortune. But, in the end, even those who care little about 1970s rock music or its stars would appreciate an unusual and often intriguing film that, like its protagonist, had lofty goals but didn’t manage to achieve them. Sometimes the journey is indeed more important than the destination.

RATING: 7/10 (++)