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).
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
刚才又看了一遍《天外来客》,因为没有现成的可播资源,就是用的百度云。翻译真的是一言难尽,( ’ - ’ * )期间还有十分钟左右给我停字幕了,好在讲的不是很难吧……勉强听懂(如果谁有高清的,或者双英字幕,麻烦分享,谢谢啦) 这是第二次看,第一次看完只觉得David Bowie太帅了●v● 怎么讲呢,本来觉得玛丽·卢她是个很悲情的人,喜欢上了一个不值得去喜欢的人。一开始就觉得汤尼就是个孩子一样的人,他会耍脾气很任性。再看下去,他很善良呀,从来没有骗过人,且对每一个人都挺好的。他对那个科学家说:“虽然我眼睛不好,但是我还是有很多钱,如果你需要来找我”
爱情这个感情线还是很完整的,可是其他的线个人认为就不是很好了。 所以我就讲讲感情线吧。 汤尼肯定是喜欢过她的。最后他把他妻子的戒指(虽然有好多一模一样的,估计都当了●v●)送给玛丽,玛丽试了好几个手之后发现不合适,哭着扔了。 “我不想让她孤单”第一次看觉得是爱情,后来再看我觉得就是感激这人的存在。就像他第一次见到她,晚上和她道别一直在说谢谢。但是一开始不就是这女的主动的么ヾ(°ー°ヾ)^???
然后个人困惑点。是不是司机亚瑟背叛了汤尼泄露身份?汤尼最后是死了么还是低头沉思?他眼睛是因为最后那次x光把他眼睛永远停留在人的形态了么? 个人觉得主角是因为思念家园却留恋地球,有负于家庭却向往自由(他对科学家讲过:男人就该呆在家人身边),所以他该是个很复杂的旅客吧,他至始至终都……
"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」∠)_
-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……
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!
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。
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!
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。
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。
看到波伊的时候我的胃一阵暖我便知道自己爱上他了。
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……
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。
DavidBowie露屌 清晰多图
鉴于对男主角的偏爱此片不打分
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√
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。
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!
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……………………
本片和《The Hunger》都有David Bowie被女人抱起来的场景,他这么轻吗?
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。
哦哦爲david bowie的全裸獻上五顆星!
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。