list http://www.spout.com/ Recent community activity around The Man Who Fell to Earth on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Man_Who_Fell_to_Earth/21624/default.aspx Title: The Man Who Fell to Earth
Year: 1976
Director: Nicolas Roeg
Plot: Based on a novel by Walter Tevis, The Man Who Fell to Earth achieved cult film status for David Bowie's performance as Thomas Jerome Newton, aka "Mr. Sussex," and the imagery of director Nicholas Roeg, a former cinematographer. In this deeply allegorical science-fiction drama, Newton is an alien from a planet that is dying for lack of water, and he has been sent to earth to find a way to ship some of the earth's plentiful supply to his home planet. He arrives with a human-looking disguise, his knowledge of unusual technologies, his despair, and little else. Using his knowledge, he takes out patents on "his" inventions, aided by patent lawyer Oliver Farnsworth (Buck Henry). He skillfully parlays the money from these inventions and becomes a financial/industrial tycoon. These inventions, and others like them, along with his political and financial power, should make possible the transfer of water to his planet. But instead of pressing forward with plans to save his home planet, he becomes enamored of Earth's low-down ways and of his strange, passive relationship with his elevator-operator girlfriend, Mary Lou (Candy Clark). Meanwhile, his phenomenal rise from anonymity to power, and his eccentric behavior, spark the government's interest. Chemistry professor Nathan Bryce (Rip Torn) also comes calling, fascinated by the alien's history. As gin and despair slowly cripple him, he becomes consumed by memories of life on his doomed planet. The longer (140 minutes) and sexier British version of this film was toned down for its American release. Roeg, whose work has received polarized responses, also directed such distinctively stylized movies as Walkabout (1971) and Don't Look Now (1973). ~ Clarke Fountain, All Movie Guide
Times Tagged: 12
Number of Lists: 20
Number of blog posts: 5
SpoutRating: 3
]]>Fri, 27 Feb 2009 23:02:08 GMTThe Man Who Fell to Earth1976Nicolas RoegBased on a novel by Walter Tevis, The Man Who Fell to Earth achieved cult film status for <a href="/players/P____82636/default.aspx" style='text-decoration:underline'>David Bowie</a>'s performance as Thomas Jerome Newton, aka "Mr. Sussex," and the imagery of director Nicholas Roeg, a former cinematographer. In this deeply allegorical science-fiction drama, Newton is an alien from a planet that is dying for lack of water, and he has been sent to earth to find a way to ship some of the earth's plentiful supply to his home planet. He arrives with a human-looking disguise, his knowledge of unusual technologies, his despair, and little else. Using his knowledge, he takes out patents on "his" inventions, aided by patent lawyer Oliver Farnsworth (<a href="/players/P____94069/default.aspx" style='text-decoration:underline'>Buck Henry</a>). He skillfully parlays the money from these inventions and becomes a financial/industrial tycoon. These inventions, and others like them, along with his political and financial power, should make possible the transfer of water to his planet. But instead of pressing forward with plans to save his home planet, he becomes enamored of Earth's low-down ways and of his strange, passive relationship with his elevator-operator girlfriend, Mary Lou (<a href="/players/P____13342/default.aspx" style='text-decoration:underline'>Candy Clark</a>). Meanwhile, his phenomenal rise from anonymity to power, and his eccentric behavior, spark the government's interest. Chemistry professor Nathan Bryce (<a href="/players/P___114388/default.aspx" style='text-decoration:underline'>Rip Torn</a>) also comes calling, fascinated by the alien's history. As gin and despair slowly cripple him, he becomes consumed by memories of life on his doomed planet. The longer (140 minutes) and sexier British version of this film was toned down for its American release. Roeg, whose work has received polarized responses, also directed such distinctively stylized movies as <a href=/films/77983/default.aspx style='text-decoration:underline'>Walkabout</a> (1971) and <a href=/films/9496/default.aspx style='text-decoration:underline'>Don't Look Now</a> (1973). ~ Clarke Fountain, All Movie Guide12Tag Target (>10)2053http://www.spout.com/ProductImages/t67423bo3jh.jpghttp://www.spout.com/films/The_Man_Who_Fell_to_Earth/21624/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/2/27/40717.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/27/2009 6:02:08 PM
Body: In episode #108, we posed a simple question: Which movie should be turned into a graphic novel? Your responses to the question became the fodder for a great conversation. Turning the typical page-to-screen progression on its head, we dig into the strengths and weaknesses of each medium. We discuss the possibility of seeing Mystery Train, Walkabout, The Man Who Fell To Earth, Zardoz, Hero, Die Hard, and Gangs of New York crammed into little action-packed drawings. We check in with Karina for a hindsight conversation about awards season. She poses the question: Who would win in a fight, Benjamin Button or Iron Man? The answer is as obvious as it seems, but not for the reason you think. Want to win a copy of Watchmen: The Official Film Companion? Send us an e-mail telling us what film you think has the best production design in entire history of cinema. It’s that simple. E-mail filmcouch [at] spout [dot] com. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 3:22 - From film to comic. 26:40 - The Oscars. What happened? filmcouch-110 Originally posted on:SpoutBlog
]]>Fri, 27 Feb 2009 23:02:08 GMTSpoutBlogSpoutBlog on spout.com2/27/2009 6:02:08 PM In episode #108, we posed a simple question: Which movie should be turned into a graphic novel? Your responses to the question became the fodder for a great conversation. Turning the typical page-to-screen progression on its head, we dig into the strengths and weaknesses of each medium. We discuss the possibility of seeing Mystery Train, Walkabout, The Man Who Fell To Earth, Zardoz, Hero, Die Hard, and Gangs of New York crammed into little action-packed drawings. We check in with Karina for a hindsight conversation about awards season. She poses the question: Who would win in a fight, Benjamin Button or Iron Man? The answer is as obvious as it seems, but not for the reason you think. Want to win a copy of Watchmen: The Official Film Companion? Send us an e-mail telling us what film you think has the best production design in entire history of cinema. It’s that simple. E-mail filmcouch [at] spout [dot] com. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 3:22 - From film to comic. 26:40 - The Oscars. What happened? filmcouch-110 Originally posted on:SpoutBlog http://www.spout.com/blogs/paul/archive/2009/2/27/40678.aspx Post By: paul
Post To: paul on spout.com
Post Date: 2/27/2009 6:01:09 PM
Body: In episode #108, we posed a simple question: Which movie should be turned into a graphic novel? Your responses to the question became the fodder for a great conversation. Turning the typical page-to-screen progression on its head, we dig into the strengths and weaknesses of each medium. We discuss the possibility of seeing Mystery Train, Walkabout, The Man Who Fell To Earth, Zardoz, Hero, Die Hard, and Gangs of New York crammed into little action-packed drawings. We check in with Karina for a hindsight conversation about awards season. She poses the question: Who would win in a fight, Benjamin Button or Iron Man? The answer is as obvious as it seems, but not for the reason you think. Want to win a copy of Watchmen: The Official Film Companion? Send us an e-mail telling us what film you think has the best production design in entire history of cinema. It’s that simple. E-mail filmcouch [at] spout [dot] com. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 3:22 - From film to comic. 26:40 - The Oscars. What happened? filmcouch-110 Originally posted on:SpoutBlog » Paul Moore
]]>Fri, 27 Feb 2009 23:01:09 GMTpaulpaul on spout.com2/27/2009 6:01:09 PM In episode #108, we posed a simple question: Which movie should be turned into a graphic novel? Your responses to the question became the fodder for a great conversation. Turning the typical page-to-screen progression on its head, we dig into the strengths and weaknesses of each medium. We discuss the possibility of seeing Mystery Train, Walkabout, The Man Who Fell To Earth, Zardoz, Hero, Die Hard, and Gangs of New York crammed into little action-packed drawings. We check in with Karina for a hindsight conversation about awards season. She poses the question: Who would win in a fight, Benjamin Button or Iron Man? The answer is as obvious as it seems, but not for the reason you think. Want to win a copy of Watchmen: The Official Film Companion? Send us an e-mail telling us what film you think has the best production design in entire history of cinema. It’s that simple. E-mail filmcouch [at] spout [dot] com. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 3:22 - From film to comic. 26:40 - The Oscars. What happened? filmcouch-110 Originally posted on:SpoutBlog » Paul Moore http://www.spout.com/blogs/dibot/archive/2008/10/6/35919.aspx Post By: dibot
Post To: dibot Blog
Post Date: 10/6/2008 12:38:41 AM
Body: Shutter, which I knew nothing about going in, turned out to be pretty creepy. Joshua Jackson ("Bobby") stars as a photographer who keeps seeing a ghost in his pictures. Then she turns up haunting him and his girlfriend, so they try to sort out why she's so pissed. The mood is pretty chilly throughout, and even the end held up. I wouldn't say seek it out, but if you come across it, it's worth watching.The newest film from writer/director David Mamet ("Spartan"), Redbelt is sort of about a martial arts instructor who doesn't want to fight in a tournament, but then circumstances, and acquaintances, conspire to get him into it. Because it's Mamet, the dialogue is super cool. My two new favorite phrases, "Let the wheel come around," and "Leave the outside, outside." However, there are a few side stories that are either confusing or don't go anywhere. Chiwetel Ejiofor ("American Gangster") is amazing in the lead. His eyes express everything. I quite enjoyed this.Drawn to The Secret through my movie crush on David Duchovny ("The X-Files: I Want to Believe"), I had no idea what I was getting into. I'm still not sure what happened. Okay, I am, but I kind of wish I didn't know. Duchovny's wife and teenage daughter are in a car crash, and the wife's soul ends up in the daughter's body. then she tries to convince Duchovny she's his wife, not his daughter, and uncomfortableness ensues. Very interesting, yet disturbing film. I enjoyed it.I wasn't really interested in Lakeview Terrace until I heard Neil LaBute ("The Wicker Man") was directing. LaBute has a way of creating a really disturbing story with totally messed up and, yet, sometimes sympathetic characters. If I pretend the remake of The Wicker Man never happened, he's one of my favorite directors. And this film is not a disappointment. Patrick Wilson ("Evening") and Kerry Washington ("Miracle at St. Anna") a mixed-race couple, move into a nice suburb where their neighbor, a black cop in the form of Samuel L. Jackson ("Jumper"), is forced to confront his own prejudices. The main plot is a pretty by-the-book thriller, but the characters are well developed and believable. And when LaBute wants to make us uncomfortable and scared, we are. Also, the racism issues aren't wrapped up in a neat ball, but laid out for us to think about and digest. Not a great film, but a good one.The Man Who Fell to Earth is a classic science fiction movie starring David Bowie ("Arthur and the Invisibles") as an alien who is trying to figure out a way to transport water back to his home planet. And it's weird and long. There a flashbacks and forwards and general disregard of traditional timelines. Some of the shots are cool. There's a lot, and I mean, a lot of nudity, both male and female. I don't know about this film. I couldn't really get into the story and now I'm just scared for life.
]]>Mon, 06 Oct 2008 04:38:41 GMTdibotdibot Blog10/6/2008 12:38:41 AMShutter, which I knew nothing about going in, turned out to be pretty creepy. Joshua Jackson ("Bobby") stars as a photographer who keeps seeing a ghost in his pictures. Then she turns up haunting him and his girlfriend, so they try to sort out why she's so pissed. The mood is pretty chilly throughout, and even the end held up. I wouldn't say seek it out, but if you come across it, it's worth watching.The newest film from writer/director David Mamet ("Spartan"), Redbelt is sort of about a martial arts instructor who doesn't want to fight in a tournament, but then circumstances, and acquaintances, conspire to get him into it. Because it's Mamet, the dialogue is super cool. My two new favorite phrases, "Let the wheel come around," and "Leave the outside, outside." However, there are a few side stories that are either confusing or don't go anywhere. Chiwetel Ejiofor ("American Gangster") is amazing in the lead. His eyes express everything. I quite enjoyed this.Drawn to The Secret through my movie crush on David Duchovny ("The X-Files: I Want to Believe"), I had no idea what I was getting into. I'm still not sure what happened. Okay, I am, but I kind of wish I didn't know. Duchovny's wife and teenage daughter are in a car crash, and the wife's soul ends up in the daughter's body. then she tries to convince Duchovny she's his wife, not his daughter, and uncomfortableness ensues. Very interesting, yet disturbing film. I enjoyed it.I wasn't really interested in Lakeview Terrace until I heard Neil LaBute ("The Wicker Man") was directing. LaBute has a way of creating a really disturbing story with totally messed up and, yet, sometimes sympathetic characters. If I pretend the remake of The Wicker Man never happened, he's one of my favorite directors. And this film is not a disappointment. Patrick Wilson ("Evening") and Kerry Washington ("Miracle at St. Anna") a mixed-race couple, move into a nice suburb where their neighbor, a black cop in the form of Samuel L. Jackson ("Jumper"), is forced to confront his own prejudices. The main plot is a pretty by-the-book thriller, but the characters are well developed and believable. And when LaBute wants to make us uncomfortable and scared, we are. Also, the racism issues aren't wrapped up in a neat ball, but laid out for us to think about and digest. Not a great film, but a good one.The Man Who Fell to Earth is a classic science fiction movie starring David Bowie ("Arthur and the Invisibles") as an alien who is trying to figure out a way to transport water back to his home planet. And it's weird and long. There a flashbacks and forwards and general disregard of traditional timelines. Some of the shots are cool. There's a lot, and I mean, a lot of nudity, both male and female. I don't know about this film. I couldn't really get into the story and now I'm just scared for life. http://www.spout.com/blogs/minerwerks/archive/2008/9/4/34734.aspx Post By: minerwerks
Post To: minerwerks Blog
Post Date: 9/4/2008 10:55:54 AM
Body: I am not a child of the 70s. I say this because it seems to be one of the main reasons I do not share the same reverence for the odd spectacle productions of that decade like 'Tommy' or 'The Man Who Fell to Earth.' I was going to throw 'Heavy Metal' in there, which is certainly a product of the 70s, even though it came out in 1981. Which is also the year that this sort-of sequel to 'The Rocky Horror Picture Show' came out. Now, as much as I thoroughly enjoy 'Rocky Horrror' (with and without the crowd participation), I can buy into many of the criticisms of that film. They pitched the tone a bit too seriously, the pacing is erratic, and the movie never really communicates the same idea that the stage show originally did. But 'Shock Treatment' is something completely different, and it struggles to be taken on its own terms. The All Movie guide says it is "hesitantly embraced" by 'Rocky Horror' fans, but that rings as a prespective of someone on the outside observing the freaks. There are 'Rocky Horror' fans who have tried to put the same audience participation template on 'Shock Treatment,' and while those results are mixed and lack a certain spontaneity, they do not represent or spoil the merits of the film. 'Shock Treatment' follows married Brad and Janet Majors as they reulctantly become pawns in the mechanizations of a fast food magnate named Farley Flavors who lords over his world of DTV - Denton Television. The film immediately contextualizes small town America in a television studio where dramas play out on various television series. I suppose this device would cause many people to tune out immediately, but if you accept the surreal setting the film has many odd charms and fun moments. This is why I bring up films like 'Tommy' (and hell, let's also take 'The Wall' even though it came out a year after this film). I suppose the pedigree of being based on "important" rock music can carry a disconnected, overly pretentious, bizarre barrage of images and help it to be considered a classic. Why can't something just as surreal but with a more DIY bent be considered entertaining or worthy as well? 'Shock Treatment' is not deep, but it presages America's obsession with reality television, advertising overload and (particularly) the media's ability to lead people into making judgements on our fellow citizens based on rumor and conjecture. But this is a musical, and judged soley on that basis, the songs are bright, clever and catchy. Richard O'Brien and Richard Hartley outdid themselves and created songs that work even better than the ones in 'The Rocky Horror Picture Show.' The songs cut a wide swath through the music of the time, encompassing classic show tune styles, brassy soul, disco (just a little) and even punk. But somehow, the score is coherent, and less of a rambling pastiche of styles than its predecessor. Cliff de Young and Jessica Harper easily outshine Barry Bostwick and Susan Sarandon (the Brad and Janet of 'Rocky Horror'), not because of overall talent, but because they are appropriate for this film's incarnation of the roles (not to mention De Young and Harper sing their asses off). We don't get a lot of fancy musical choreography, but a couple of sequences are interestingly staged, cognizant of the camera and the conventions of editing. Which brings up another point. 'Rocky Horror' worked hard but couldn't quite shake the feeling of being adapted from a stage play. On the other hand, 'Shock Treatment' was a film from the beginning and even though the settings are limited inside a giant television studio, the film makes the most of space and time (and fantasy), never feeling tied to one or two locations. If you are ever in a forgiving mood and want to challenge your thoughts on this film, I encourage you to check it out again fresh. I'll be surprised if you don't find yourself singing,"Ooooh, shock treatment!" afterwards.
]]>Thu, 04 Sep 2008 14:55:54 GMTminerwerksminerwerks Blog9/4/2008 10:55:54 AMI am not a child of the 70s. I say this because it seems to be one of the main reasons I do not share the same reverence for the odd spectacle productions of that decade like 'Tommy' or 'The Man Who Fell to Earth.' I was going to throw 'Heavy Metal' in there, which is certainly a product of the 70s, even though it came out in 1981. Which is also the year that this sort-of sequel to 'The Rocky Horror Picture Show' came out. Now, as much as I thoroughly enjoy 'Rocky Horrror' (with and without the crowd participation), I can buy into many of the criticisms of that film. They pitched the tone a bit too seriously, the pacing is erratic, and the movie never really communicates the same idea that the stage show originally did. But 'Shock Treatment' is something completely different, and it struggles to be taken on its own terms. The All Movie guide says it is "hesitantly embraced" by 'Rocky Horror' fans, but that rings as a prespective of someone on the outside observing the freaks. There are 'Rocky Horror' fans who have tried to put the same audience participation template on 'Shock Treatment,' and while those results are mixed and lack a certain spontaneity, they do not represent or spoil the merits of the film. 'Shock Treatment' follows married Brad and Janet Majors as they reulctantly become pawns in the mechanizations of a fast food magnate named Farley Flavors who lords over his world of DTV - Denton Television. The film immediately contextualizes small town America in a television studio where dramas play out on various television series. I suppose this device would cause many people to tune out immediately, but if you accept the surreal setting the film has many odd charms and fun moments. This is why I bring up films like 'Tommy' (and hell, let's also take 'The Wall' even though it came out a year after this film). I suppose the pedigree of being based on "important" rock music can carry a disconnected, overly pretentious, bizarre barrage of images and help it to be considered a classic. Why can't something just as surreal but with a more DIY bent be considered entertaining or worthy as well? 'Shock Treatment' is not deep, but it presages America's obsession with reality television, advertising overload and (particularly) the media's ability to lead people into making judgements on our fellow citizens based on rumor and conjecture. But this is a musical, and judged soley on that basis, the songs are bright, clever and catchy. Richard O'Brien and Richard Hartley outdid themselves and created songs that work even better than the ones in 'The Rocky Horror Picture Show.' The songs cut a wide swath through the music of the time, encompassing classic show tune styles, brassy soul, disco (just a little) and even punk. But somehow, the score is coherent, and less of a rambling pastiche of styles than its predecessor. Cliff de Young and Jessica Harper easily outshine Barry Bostwick and Susan Sarandon (the Brad and Janet of 'Rocky Horror'), not because of overall talent, but because they are appropriate for this film's incarnation of the roles (not to mention De Young and Harper sing their asses off). We don't get a lot of fancy musical choreography, but a couple of sequences are interestingly staged, cognizant of the camera and the conventions of editing. Which brings up another point. 'Rocky Horror' worked hard but couldn't quite shake the feeling of being adapted from a stage play. On the other hand, 'Shock Treatment' was a film from the beginning and even though the settings are limited inside a giant television studio, the film makes the most of space and time (and fantasy), never feeling tied to one or two locations. If you are ever in a forgiving mood and want to challenge your thoughts on this film, I encourage you to check it out again fresh. I'll be surprised if you don't find yourself singing,"Ooooh, shock treatment!" afterwards. http://www.spout.com/blogs/unclefestering/archive/2008/5/8/28388.aspx Post By: unclefestering
Post To: unclefestering Blog
Post Date: 5/8/2008 9:25:05 PM
Body: David Bowie is perfect for this role. He is a distant and seemingly disassocated man who makes millions and then wants to use his money to save his family on another planet. The strange editing and cinematography of this movie help craft the eiree feeling of this movie. I really liked it and yet... Something is missing from this movie. I can't put my finger on what it is. I saw a remake of this movie and don't bother with it. It is far too literal and strips away the lyrical imagery that this version has.
]]>Fri, 09 May 2008 01:25:05 GMTunclefesteringunclefestering Blog5/8/2008 9:25:05 PMDavid Bowie is perfect for this role. He is a distant and seemingly disassocated man who makes millions and then wants to use his money to save his family on another planet. The strange editing and cinematography of this movie help craft the eiree feeling of this movie. I really liked it and yet... Something is missing from this movie. I can't put my finger on what it is. I saw a remake of this movie and don't bother with it. It is far too literal and strips away the lyrical imagery that this version has. http://www.spout.com/members/0/tags/alien/MemberTagFilms.aspxalien
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