Film Review Of ‘Moonage Daydream’

After examining the evolution and destruction of Kurt Cobain in “Montage of Heck” and the history of the Rolling Stones in “Crossfire Hurricane”, the filmmaker transforms a Kaleidoscopic objective on Bowie in this archival rock.

The Record tour exhibition, David Bowie, stops in 12 world museums in 2013 to 2018, acquiring new elements specific to a number of these destinations along the way. The thematically organized retrospective has been a deep dive in the massive heritage of the rocker of art influential in music, style, video, performance and even its less known talent for painting and drawing. For his documentary, Moonage Daydream, Brett Morgen adopts a more impressionist approach, exploring Bowie’s personality as a composite creation, a chameleonic extraterrestrial that has raised the shoulders of the enigma to engage with the world as himself that Over the past two decades of his life.

What Morgen’s multilayer collage has for him is an incredible enveloping sound treatment. The Bowie’s slopes over 50 years of her career have been restillating for the theatrical presentation pumped by music producer Tony Visconti and the mixer of his Paul Massey. But for this Bowie fan for life at least, there is a huge gap between listening to the artist’s music and listening to her to stroll about it without saying a lot.

Bowie was a lot of things, but a big interview was probably not one of them, at least not often, on the basis of proof of apparently countless hours of audio and television clips sampled here. We get her glam-rock days to cultivate a mysticism that extended his androgynous look to his fashionable bisexuality; His philosophical and spiritual wandering, fighting to grasp the fleetingness of existence (“I was a Buddhist on Tuesday and I was in Nietzsche by Friday”); And its ultimate conclusion according to which, yes, all this matters after all, which led to a platitudine commitment to adopt positivity.

Bowie describes himself as a collector of personalities, and it hurts to say it, but whoever meets him for the first time in Morgen’s film could be forgiven for concluding that in musical geniuses, he could be a pretentious bore.

This reducing dismissal is inadvertently inadvertently by the occupied visual approach of Morgen, punctuating the film at random with gusts of psychedship, animation, washes of colors and graphics, to the point where the film begins to look more like An artistic installation. Many fans will be very good with that, which probably makes Neon’s plan to include IMAX reservations in the theatrical version of Intelligent Fall. But others might want something as flagrant conventional as a speaking interviews.

Even More Empty Than The Self-Consciously Splash Visual Flourishes Are the Constant Dams of Movie Images-Lifting from Kubrick and Dreyer, Murnau and Méliès, Eisenstein and Oshima, Buñuel and Bergman, Warhol and Whale, with a special Fondness for Robert Wiene’s the Cabinet Dr Caligari. With a few exceptions, all this says more about the customs clearance of Morgen’s rights than on Bowie, beyond what he was engaged in an act of self-invention, by a remote and unknowable design until ‘To what it advances and presents itself to the world, by the world, losing the artifice.

The methodical mosaic of Morgen’s Kurt Cobain: Devil assembly has highlighted enlightening empathy for its subject at each stage; Even his officially sanctioned Doc Rolling Stones, Crossfire Hurricane, was a sufficiently effective chronicle in the history of the group. But Moonage Daydream, entirely said in Bowie’s own words, often seems to be unlimited archival access in search of a perspective. Especially since it extends towards and after the two -hour brand, the film feels informed and Baggy, as if Morgan, who also edited, had thrown all the Bowie data on his hard drive on the screen And has always found how to organize it.

This does not mean that there are no awards for the faithful of Bowie, the chief among them the vast concert images, going up to Ziggy Stardust and the spiders of the appearances from March to the early 1970s Through the “exterior” and “earth” tours of the middle at the end of the 90s. The performance clips of the Berlin years are particularly cool, although this is a place where it could have stimulated others of its main collaborators of The period, like Brian Eno and Robert Fripp.

Morgen occasionally captures the fun side of Bowie, especially in his time in Los Angeles. Drapes on the back seat of a car sporting an elegance “thin Duke white”, he talks about putting himself in dangerous situations to see what she would do at her music. Since he hated L.A., he thought he would live there for two years when “a foreign body” could trigger something new in him, with “cracked actor” providing funny accompaniment to these observations. Hocked his head to his roots in the lower middle class, he recognizes that America has filled spaces in his imagination that England could not.

The closest to the film is getting closer to Bowie on anything personnel in the late section, where he finally speaks of finding spiritual and emotional freedom to explore a real romantic relationship, with Iman, his wife for 24 years of his life; And earlier when he discusses his half-brother Terry, an influential figure whose sophisticated taste has widened the musical and cultural horizons of Bowie. After serving in the Royal Air Force, Terry received a diagnosis of schizophrenia and spent the rest of his life in hospitals.

Morgen crosses Bowie’s film roles with rapid extracts, but spends more time for his debut on Broadway in 1980 as John Merrick in The Elephant Man. Given the frequency to which loneliness appeared as a theme in the words of Bowie, the haunting loneliness of this character offers a welcome moment of reflection in a film more often consumed with a cacophone and cacophonic unsubscribe. It is also interesting to see your paintings closely fully accomplished, at least more than regurgitate long sequences of the 1984 Ricochet documentary, which followed Bowie which crosses the Red district of Bangkok during the “Serious Moonlight” tour .

The embrace of POP more optimistic and commercial as “Modern Love” and “Let’s Dance” gives an ironic comment of Bowie about the acceptance of the role of the artist – having stubbornly insisted for years that people had to love What he liked, he started to give them what they liked in place. And he rightly laughs at the purists who accused him of selling.

It is at the Credit of Morgen that he chooses not to start the ground widely covered elsewhere in the conventional special and musical editorials, in particular in the immediate wake of the shocking death of Bowie in 2016. But Moonage Daydream is short of knowledge .

While Todd Haynes successfully appropriated the artistic aesthetics associated with his subject in The Velvet Underground from last year, Morgen’s attempt to do something similar with Bowie who changes shape does not approach the same immediacy. The film feels away, its embellishments that are too often superfluous. Bowie was one of the few recording artists whose albums I bought on vinyl at the time at the minute when they were published, generally before reading critics. This film just made me want to put on his music without all the too deceived visual distractions and the soporific speeches.