Retrospective: Ziggy Stardust and the Spiders from Mars (1973)
Laura Clifford
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On July 3, 1973, androgynous glam-rocker David Bowie surprised his fans and
his band with the pronouncement that this would be his final show. Of course
Bowie performed again, but never as "Ziggy Stardust and the Spiders
from Mars."
Documentarian D. A. Pennebaker ("Don't Look Back") was at the Hammersmith
Odeon in London those last two nights to make a 30 minute series special.
Once made privy to Bowie's surprise, however, he decided to shoot a
feature film on the fly. While the rough and tumble nature of this
hastily planned shoot shows, it is still an amazing document of a rock
icon in his early days and one of the first concert films.
We find Bowie backstage, attempting to decipher a contract at the age of 26.
"This is written in code" says the man who will become one of rock's saviest
businessmen and Internet Service Provider. Angela Bowie makes a playful
visit, appearing thoroughly out of place in retrospect. Later, Bowie
relaxes with buddy Ringo Starr.
Bowie's guitarist Mick Ronson, who died in 1993, acts here like the forerunner
of "Kiss," a heavy metal god before his time. Pennebaker captures Ronson
with the now-trademark angled below the guitar shot. It's clear why Bowie
chose this moment in time to split off from Ronson, who was not prepared to
transform his style, but Ronson's contributions are obvious in Pennebaker's
film.
This thirtieth anniversary reissue of the legendary last "Ziggy Stardust"
performance has been restored with remastered on Dolby Digital Surround 5.1,
mixed by Bowie producer ("Low," "Heroes") Tony Visconti. While we can
revel in the recreation of "Ziggy Stardust," "All the Young Dudes," "Space
Oddity" and "Suffragette City," what truly awes in the realization of
Bowie's completely mature command of both his voice and the stage so
early in his career.
"Ziggy Stardust and the Spiders from Mars: The Movie" suggests influences
on the show from Marlene Dietrich (whom Bowie would later star with in "Just
a Gigolo") to Pinocchio, while the show itself is clearly a forerunner to
"Rocky Horror."
B
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Robin Clifford
"Ziggy Stardust and the Spiders From Mars" is the digitally remastered
feature film of the last concert and final performance of David Bowie as
his gender-bender, crazy-clad alter ego, Ziggy Stardust, in 1973.
Documentary and music feature creator D.A. Pennebaker produced one of
the early rock concert films and captures an event that even the band
was not aware of - the end of Ziggy.
The film starts with behind-the scenes footage as the performer prepares
for, what is for him, business as usual. He is surrounded by his staff
as they carefully coif, costume and make up Bowie into his other persona
before your eyes. The entertainer comes across as cool, confident and
totally comfortable about lending his body to Ziggy. The music that
ensues is a chronicle of the genius output by Bowie. Before the maestro
begins his performance, composer Wendy Carlos gives a rendition of
Beethoven's "Ninth Symphony." What follows the classical opener is
classic, too, as we get a great selection of many of Bowies early tunes.
"Space Oddity," "Suffragette City," "Rock 'N' Roll Suicide," "Changes,"
"Time," "All the Young Dudes," "Ziggy Stardust" are just some of the
Bowie-penned songs, along with other's like Lou Reeds "White Light/White
Heat" and the Jagger/Richards tune, "Let's Spend the Night Together."
It's a tour de force concert, which, now, is just the tip of the iceberg
of the work of the multitalented David Bowie (nee David Robert Jones).
The Spiders From Mars, the guys backing up Bowie, is made up by
legendary rock guitarist Mick Ronson (who some consider the father of
heavy metal guitar music), Trevor Boulder and Woody Woodmansey. This was
their final performance as a band, though the late Ronson did reunite
with Bowie in the early 90's for a cover of the classic Cream song, "I
Feel Free." The artist died shortly thereafter. The band is every bit as
capable at their craft as their leader and they do a splendid job in
backing up the boss.
The opening and closing sequences of the film take us back stage and
gives us a look at Bowie's first wife, Angela, before he dumped her for
supermodel Iman, and a brief interlude between Bowie and his good friend
Ringo Starr. There is not a lot of excess baggage to "Ziggy Stardust and
the Spiders From Mars" as Bowie gets down to the music. The film
documentation suffers from the technology of the day as director
Pennebaker makes do with the existing light and frequently red
costuming, which tends to bleed even in the re-mastered form. There is
some, actually frequent, out of focus shots but I think the day's techs
and the attempt to shoot really close up are the reason. (See Tim Pope's
"The Cure In Orange" as an example of how a concert film should be
shot.)
Even the non-Bowie fans - although, with the incredible body of work
the man has generated, from rock classics to his brilliant narration of
Peter and the Wolf (with the Philadelphia Orchestra) to some pretty
remarkable film performances to his reading over the wonderful
animation, "The Snow Man," I can't imagine anyone not a fan to some
degree - will be entertained with this finale perf as the alien-like
Ziggy. I don't think the theatrical release will garner big bucks, but
it will be very popular on the aftermarket market. I give it a B.
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