A psychiatrist, living in Vienna, enters a torrid relationship with a married woman. When she ends up in the hospital from an overdose, an inspector becomes set on discovering the demise of their affair.
A doctor's wife tires of his obsession with model trains, and spends her days wondering about the son she gave up for adoption at birth. While eating at a roadside café, she encounters a ... See full summary »
An otherworldly, beautiful female android travels in time while scientists try to understand her enigmatic secrets exploiting the occasions of her mysterious, rare appearances. Until she decides the right time to share her vision has come.
Thomas Jerome Newton is a humanoid alien who comes to Earth to get water for his dying planet. He starts a high technology company to get the billions of dollars he needs to build a return spacecraft, and meets Mary-Lou, a girl who falls in love with him. He does not count on the greed and ruthlessness of business here on Earth, however.Written by
Gene Volovich <firstname.lastname@example.org>
The picture's American distributor was Paramount Pictures who had previously distributed Nicolas Roeg's previous film Don't Look Now (1973) about three years earlier. See more »
Newton only touches the plate once and there's only one plate of cookies, but when they were in the air, we can see two completely different lifting moments. See more »
My father used to say "Oliver, when you get a gift horse, walk up to it, pat it, quiet the animal down and then using both hands force open it's jaws and have a damn good look in it's mouth."
I'd say that was good advice
Yes, but my father was always wrong!
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The US theatrical release of the film was drastically altered. Not only were 20 minutes cut (including the gun sequence) but some scenes were rearranged and a few scenes had different camera angles. See more »
I like Nicolas Roeg's films although I don't claim to always "get" or enjoy every minute of them. They're always fantastically shot in a crisp, realistic style, he often pushes back the boundaries, particularly with the censors, and they frequently have scenes which stick long in the memory. However, they often seem to have just as many longueurs, with off-beat characters and non-linear narratives. Maybe I'm the problem...
Anyway David Bowie here plays a part which seemed to haunt him for years to come, in the aftermath of the film alone, he used images from the movie for two of his album covers, a 12-inch single sleeve while it also seems to inspire tracks on his "Station To Station", "Low" and "Scary Monsters" albums not to mention the famous "Ashes To Ashes" video. Bowie was at an artistic peak musically although off stage he was hopelessly hooked on cocaine, in fact just watch the contemporary BBC Arena documentary on him, "Cracked Actor" and he looks here as if he's just walked on-set from there. So can he act then...?
Well if there was one part he was born to play, it was this one, the alien misfit who conquers the world, but to be honest, while he certainly has a presence, you wouldn't say he was extended much. Looks great though.
The film stop-starts its way on his space invader odyssey, as he leaves his family life on Mars (or wherever it is) to start inventing items which quickly become society's new fashion must-haves. He picks up, (or rather she does him) an adoring if simplistic hotel chambermaid and garners a back-up team to make him a vast fortune, his target being to amass enough funds to build a spaceship to take him back home. But something happens on his way to heaven as unsurprisingly, he's abducted by government officials, where he's subjected to excruciating tests which wouldn't be out of place in an animal cruelty lab. Resistance however is futile and the mysterious Mr Newton by the end is a washed-up drunk, still resigning himself to his earth bound fate. In one of the film's most telling lines, he forgives his captor-torturer, as he admits his own race would gave treated a visiting earthling in the exact same way.
There's solid back-up to Bowie's central role with a variety of convincingly portrayed stock characters. Roeg pushes the permissive button pretty far here with more than a smattering of nudity in the sex scenes, not ignoring the fact that males frequently get naked too when being intimate.
I would still say there were too many scenes which for me played like Bowie's own cut-up method for lyrics at around this time, by which I mean I found them puzzling, strange and unconnected. And why no Bowie soundtrack?
Still, an interesting if confounding movie, as strangely addictive in its way as television is to Newton.
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