The Man Who Fell to Earth


The Man Who Fell to Earth is a 1976 British science fiction film directed by Nicolas Roeg and written by Paul Mayersberg. Based on Walter Tevis's 1963 novel of the same name, the film follows an extraterrestrial who crash lands on Earth seeking a way to ship water to his planet, which is suffering from a severe drought. It stars David Bowie, Candy Clark, Buck Henry, and Rip Torn. It was produced by Michael Deeley and Barry Spikings, who reunited two years later to work on The Deer Hunter. The same novel was later adapted as a television film in 1987.
The Man Who Fell to Earth retains a cult following for its use of surreal imagery and Bowie's first starring film role as the alien Thomas Jerome Newton. It is considered an important work of science fiction cinema and one of the best films of Roeg's career.

Plot

Thomas Jerome Newton is a humanoid alien who comes to Earth from a distant planet on a mission to take water back to his home planet, which is experiencing a catastrophic drought.
Newton uses the advanced technology of his home planet to patent many inventions on Earth, and acquires tremendous wealth as the head of a technology-based conglomerate, World Enterprises Corporation, aided by leading patent attorney Oliver Farnsworth. His wealth is needed to construct a space vehicle with the intention of shipping water back to his home planet. While revisiting New Mexico, he meets Mary-Lou, a lonely, unloved, and simple girl who works as a maid, bell-hop, and elevator operator in a small hotel; he tells her he is English. Mary-Lou introduces Newton to many customs of Earth, including church-going, alcohol, and sex. She and Newton live together in a house Newton has built close to where he first landed in New Mexico.
Meanwhile, Dr. Nathan Bryce, a former womaniser and college professor, has landed a job as a fuel technician with World Enterprises and slowly becomes Newton's confidant. Bryce senses Newton's alienness and arranges a meeting with Newton at his home where he has hidden a special X-ray camera. When he steals a picture of Newton with the camera, it reveals Newton's alien physiology. Newton's appetite for alcohol and television becomes crippling and he and Mary-Lou fight. Realizing that Bryce has learnt his secret, Newton reveals his alien form to Mary-Lou. Her initial reaction is one of pure shock and horror. She tries to accept what she sees, but ultimately panics and flees.
Newton completes the spaceship and attempts to take it on its maiden voyage amid intense press exposure. However, just before his scheduled take-off, he is seized and detained, apparently by the government and a rival company; his business partner, Farnsworth, is murdered. The government, which had been monitoring Newton via his driver, holds Newton captive in a locked luxury apartment, constructed deep within a hotel. During his captivity, they keep him sedated with alcohol and continuously subject him to rigorous medical tests, cutting into the artificial applications which make him appear human. Eventually, one examination, involving X-rays, causes the contact lenses he wears as part of his human disguise to permanently affix themselves to his eyes.
Toward the end of his years of captivity, he is visited again by Mary-Lou, who is now much older and whose looks have been ravaged by alcohol and time. They have mock-violent, playful sex that involves firing a gun with blanks, and afterwards occupy their time drinking and playing table tennis. Mary-Lou declares that she no longer loves him, and he replies that he doesn't love her either. Eventually Newton discovers that his "prison", now derelict, is unlocked, and he leaves.
Unable to return home, a broken and alcoholic Newton creates a recording with alien messages, which he hopes will be broadcast via radio to his home planet. Bryce, who has since married Mary-Lou, buys a copy of the album and meets Newton at an outside restaurant in town. Newton is still rich and young-looking despite the passage of many years. However, Newton has also fallen into depression and alcoholism and the film ends with an inebriated Newton passing out in his cafe chair.

Cast

had distributed Roeg's previous film, Don't Look Now and agreed to pay $1.5 million for the US rights. Michael Deeley used this guarantee to raise finance to make the film.
Filming began on 6 July 1975. The film was primarily shot in New Mexico, with filming locations in Albuquerque, White Sands, Artesia and Fenton Lake. The film's production had been scheduled to last eleven weeks, and throughout that time, the film crew ran into a variety of obstacles: Bowie was sidelined for a few days after drinking bad milk; film cameras jammed up; and for one scene shot in the desert, the movie crew had to contend with a group of Hells Angels who were camping nearby.
Bowie, who was using cocaine during the movie's production, was in a fragile state of mind when filming was underway, going so far as to state in 1983 that "I'm so pleased I made that , but I didn't really know what was being made at all". He said of his performance:
Candy Clark, Bowie's co-star remembers things differently: "David vowed to Nic, 'No drug use'," says Clark and he was a man of his word, "clear as a bell, focused, friendly and professional and leading the team. You can see it clearly because of Tony Richmond’s brilliant cinematography. Look at David: his skin is luminescent. He’s gorgeous, angelic, heavenly. He was absolutely perfect as the man from another planet." She added that Roeg had hired "an entirely British crew with him to New Mexico and I remember David was very happy about that."
Bowie and Roeg had a good relationship on set. Bowie recalled in 1992 that "we got on rather well. I think I was fulfilling what he needed from me for that role. I wasn't disrupting... I wasn't disrupted. In fact, I was very eager to please. And amazingly enough, I was able to carry out everything I was asked to do. I was quite willing to stay up as long as anybody."

Music

Although Bowie was originally approached to provide the music, contractual wrangles during production caused him to withdraw from this aspect of the project. The music used in the film was coordinated by John Phillips, former leader of the pop group The Mamas & the Papas, with personal contributions from Phillips and Japanese percussionist-composer Stomu Yamash'ta as well as some stock music. Phillips called in former Rolling Stones guitarist Mick Taylor to assist with developing ideas for the soundtrack. The music was recorded at CTS Lansdowne Recording Studios in London, England.
Due to a creative and contractual dispute between Roeg and the studio, no official soundtrack was released for the film, even though the 1976 Pan Books paperback edition of the novel states on the back cover that the soundtrack is available on RCA Records. The soundtrack, derived from recently rediscovered masters, was eventually released on CD and LP in 2016 to coincide with the fortieth anniversary of the film's premiere. The music by Yamash'ta had already appeared on his own albums, as noted below.
;Music crew
;Music as listed on end credits
Composed and recorded by Stomu Yamashta:
Performed by John Phillips:
Other music:
composed by Gustav Holst and performed by the Bournemouth Symphony Orchestra
For the scenes in which Newton's thoughts drift back to his alien home, Phillips and Roeg enlisted Desmond Briscoe to craft simple electronic atmospheres that were then combined with whale songs, to eerie effect.

Release

According to Michael Deeley, when Barry Diller of Paramount saw the finished film he refused to pay for it, claiming it was different from the film the studio wanted. British Lion sued Paramount and received a small settlement. The film obtained a small release in the United States through Cinema V in exchange for $850,000 and due to foreign sales the film's budget was just recouped.
The British Board of Film Censors passed the film uncut for adult UK audiences with an X rating.
It was announced in the summer of 2016 that the film was in the process of being digitally remastered to 4K quality for its 40th anniversary. This remastered version premiered at BFI Southbank before being released in cinemas across the UK on 9 September of that year. The film's 2011 and 2016 re-releases grossed $100,072 domestically and $73,148 internationally.

Reception

Critical response

Review aggregator Rotten Tomatoes reports that 83% of 60 critic reviews are positive for the film, and the average rating is 7.74/10. The critics' consensus states: "Filled with stunning imagery, The Man Who Fell to Earth is a calm, meditative film that profoundly explores our culture's values and desires." On Metacritic the film has achieved a weighted average rating of 81 out of 100 from 9 critic reviews, citing "universal acclaim".
Roger Ebert of the Chicago Sun-Times awarded the film 2½ stars of four; while he complimented parts of the film and the directing, he was dismissive of the plot, writing in his review that the film is "so preposterous and posturing, so filled with gaps of logic and continuity, that if it weren't so solemn there'd be the temptation to laugh aloud." Gene Siskel of the Chicago Tribune gave the film three stars out of four and wrote that it "may leave you punch drunk, knocked out by its visuals to the point of missing what a simple story it is." Richard Eder of The New York Times praised the film, writing, "There are quite a few science-fiction movies scheduled to come out in the next year or so. We shall be lucky if even one or two are as absorbing and as beautiful as The Man Who Fell to Earth." Charles Champlin of the Los Angeles Times described Bowie as "perfect casting" but thought the film was "a muddle," and suspected it was because he reviewed a version trimmed by 20 minutes for its U.S. run: "That would do a lot to explain why the movie proceeds from the provocatively cryptic to the merely incomprehensible." Kim Newman of Empire gave the movie five stars out of five, describing the film as "consistently disorientating and beguilingly beautiful."

Legacy

Since its original 1976 release, The Man Who Fell to Earth has achieved cult status. This status has been echoed by critics, especially as it was a popular hit with midnight movie audiences years after it was released. Joshua Rothkopf of Time Out believed that the cult classic status, which he described as a "vaguely demeaning term", does the film a disservice. He labeled the film as "the most intellectually provocative genre film of the 1970s." When re-released in 2011, Ebert gave the film three stars, stating that readers should "consider this just a quiet protest vote against the way projects this ambitious are no longer possible in the mainstream movie industry." The movie has been applauded for its experimental approach and compared to more recent sci-fi films such as Under the Skin. Rolling Stone ranked it second on its 50 best sci-fi movies of the 1970s, Timeout ranked it 35th on its 100 best sci-fi movies, it is 61st on the Online Film Critics Society list of "greatest science fiction films of all time". Empire placed it 42nd on its list of 100 best British films. British Film Institute included it on its list of "50 late night classics", demonstrating its popularity as a midnight movie.

Accolades

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