Mar 16 2010
The Man Who Fell to Earth Streaming
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It was an unusual year. 1976 saw the release of Logan’s Hurry 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 memoir 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 advance to Earth in hopes that some of “his” inventions could invent enough capital so that he can catch resources from our planet to keep his.
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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 develop him seem human) . The visually unsettling photography and editing wait on 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 worthy film outside of Don’t Seek Now his gothic catch on the terror film.
I’ll derive to the point about the inequity between the capable 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 passe in some sequences. Both feature the corpulent length European nick that Roeg intended for the US market as well. The 5.1 Dolby Digital Surround Sound mix for the Anchor Bay is apt to the 2.0 unusual soundtrack on the Criterion. The entire sound system is musty nicely but sustain in mind this was never meant to sound as aggressive as the 5.1 ES (or 6.1) releases of more new movies.
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As to the extras, both have sterling extras. The Anchor Bay features a short documentary “Watching the Alien” (a expansive play on words related to one of Bowie’s songs as well as the film), the fresh theatrical trailer, TV spots, talent bios, a helpful poster and unexcited gallery as well as Paul Mayersberg’s unusual screenplay in DVD-ROM format. All of these are mountainous extras to be obvious and are included on the second disc which allows for a higher bit rate for the movie and, hence, very great video as well. A designate about the packaging-Anchor Bay’s edition of the movie was graceful but came in a very flimsy case with a scurry 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 novel 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 aged until recently for all their releases) . It doesn’t stand up to wear and wander well and the discs could potential tumble out.
Criterion’s transfer is a current, 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 unusual but is from 1992 (I occupy it may be the same one on the modern Criterion laserdisc release) and features Roeg and star David Bowie recorded together and Buck Henry recorded on his possess. The commentary track is exceptional but that will only matter if commentary tracks are necessary to you. Some folks never listen to them and never select more than a cursory ogle at the extras. The second disc includes suitable 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 unusual and the film. There’s some substantial stills, behind-the-scenes photos dominate these and were taken by David James. This piece features an introduction by James. The trailers are included as is Tevis’ novel modern. Finally there’s a 28 page considerable 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 camouflage that houses the movie and the modern. It’s very nice and will stand up a better to wear and meander.
Both versions have their strong points. If you purchased the Anchor Bay edition and are joyful with the exceptional transfer, then you may not want to lift this modern plot. 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 estimable 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 report, 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.
A thin, pale, androgynous David Bowie is THE MAN WHO FELL TO EARTH — Special Edition (Anchor Bay), a two-disc area of Nicolas Roeg’s film.
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Previously available on DVD, this widescreen (enhanced for 16×9 TVs) edition looks sharper, the well-kept DTS surround sound is THX well-liked and there’s a current, challenging 24 exiguous featurette, “Watching the Alien.”
Slow entertaining and beautifully photographed, this movie adaptation is faithful in theme to Walter Tevis’s recent. An alien being, disguised as a human, comes to earth to perceive a device to effect his home planet from turning into an arid wasteland. He funds this project by designing inventions worth gazillions and becomes bigger than Bill Gates. Unfortunately, he also becomes wrong by our earthly ways and sinks into a mystical malaise of depression and alcohol. A sweet and chirpy Candy Clark lures him into an affair that, strangely, doesn’t assist.
This hypnotic and gripping film long ago achieved cult residence. More than anything, it’s a visual meditation about an outsider, stymied by material success, who is on a trudge attend to a home that cannot in fact be reached. (Hey, who can’t characterize to that? )
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Fully restored and uncensored (there’s elephantine frontal nudity), this modern digital transfer is from recent materials. Recommended.
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