Though Bowie and band performed with much gimmickry to entertain the masses, their musical talent is still more enjoyable than watching Bowie be stripped of clothing on stage. If their songs weren't so engaging, the outrageous fashion style probably wouldn't have been able to push the gender-bending boundaries that so many other bands would later fail to copy. Bowie has his own limits of showmanship that keep you focused on the music instead of his exacting bodily movements. He doesn't just prance around on stage or gyrate, but utilizes facial expressions and simple gestures to add a texture of personality to what he sings. It's surprising yet touching when, after singing the line "...in front of that door is," the entire audience jumps on "me," which gets treated with a genuinely friendly smile.
Continue reading: Ziggy Stardust And The Spiders Of Mars Review
Throughout most of David Bowie's 1973 concert film "Ziggy Stardust and the Spiders from Mars," the flamboyantly androgynous (at the time) rock legend's performance isn't half as interesting as his gender-bending wardrobe.
In pancake makeup and his trademark spiky orange glam-mullet, Bowie's outfits include a duster-sleeved, silk kimono robe mini-dress and knee-high boots; a striped one-leg, one-sleeve body stocking accessorized with a boa and bangles the size of ring-toss rings; and a mesh shirt that reveals his beanpole frame, worn with a pair of capri pants and open-toed platform heels.
But for the first hour of the movie -- which was filmed at the farewell performance of the Ziggy Stardust persona and is now being re-released in a mediocre and muddy but "digitally remastered" print -- Bowie does little more in these get-ups than absent-mindedly pace the stage song after song, pausing once in a while to swing out a hip to place a hand on.
Continue reading: Ziggy Stardust & The Spiders From Mars Review