Por que o original o homem que caiu na terra ainda se sustenta

When Paramount+ announced a series adaptation of Nicolas Roeg’s timeless cult classic The Man Who Fell to Earth from 1976, it seemed like another beloved cult classic unnecessarily adapted into a streaming series. ( Picnic at Hanging Rock is the most egregious example of this popular trend.) We live in the age of nostalgia, and studios are looking for any movie that might work as a rebooted miniseries or television show to support the plethora of streaming services. However, the original The Man Who Fell to Earth isn’t exactly “viewer-friendly,” so what’s the need for a remake? If it’s faithful to the movie, will mainstream audiences find it a rewarding viewing experience? On the contrary, would the remake do the revered movie a disservice by changing too many things?

Conteúdo

  • The role he was born to play
  • Love, damnation, or salvation?
  • Life is a wasteland

Como foi a morte de Cristo segundo a ciência

The Man Who Fell to Earth is intentionally challenging, blending bizarre imagery with complex and, at times, convoluted storytelling, resulting in a collection of scenes and events passing for a proper narrative. The Man Who Fell to Earth lacks cohesiveness and has glaring plot holes — surprising, considering the relatively straightforward plot — yet they seem intentional, in keeping with the project’s nature. The film is more interested in asking questions than answering them, leaving fans feeling overwhelmed, not only by the intense and powerful visuals but by the thought-provoking themes that are there to beguile and, perhaps, deliberately confuse.

The role he was born to play

The Man Who Fell to Earth is a combination of factors that came together to craft a one-of-a-kind film, chief among them the casting of David Bowie as the titular alien, Thomas Jerome Newton. With his androgynous looks and inherent out-of-place-ness, Bowie was the perfect choice to bring Thomas to life. He was not an actor, something that becomes glaring in several of the film’s most heightened moments. Still, this inexperience works in his favor; Thomas is detached, aloof, a man very much out of place on a planet he finds both repellant and fascinating.

Bowie — then at the height of his perpetually experimental career — is enigmatic as Thomas. He embodies Newton’s bewilderment without crossing into cartoonish territory. When Thomas is still innocent at the beginning of the film, Bowie is restrained, stoic, almost robotic. As the plot advances and Thomas falls into the trap of sex and alcohol, Bowie lets loose, and the rock star persona comes out without ever sacrificing the alien’s trademark awkwardness. A classically trained actor might have gone big during Thomas’s crucial scenes, but Bowie remains staunchly down to earth, even during the film’s most urgent moments.

The Man Who Fell to Earth lives and dies with Bowie, but the glam rocker glides carelessly through his scenes, never carrying the weight of the movie’s potential success or failure. He fits seamlessly with Roeg’s surreal world, looking like he came out of it. Bowie also plays with audiences’ perceptions in the way Roeg intended, hinting that Thomas might be delusional about his supposed alien nature on more than one occasion. It was a brilliant piece of inspired casting that we don’t see much of in modern cinema, further elevating The Man Who Fell to Earth into classic territory.

Love, damnation, or salvation?

In many ways, The Man Who Fell to Earth is a love story, but love has its limits. Academy Award nominee Candy Clark ( American Graffiti ) plays Thomas’ human lover, Mary-Lou. Bowie remains unaffected, marching to the beat of his own drum, much like Thomas himself, but Clark plays Mary-Lou with an enthusiasm that borders on camp. The dichotomy of their performances is often disorienting, at times frustrating, but always enthralling. The relationship itself is flawed and complicated, a conflict of interests and ideologies disguised as a love story. Mary-Lou and Thomas are both appetites asking too much of each other, ultimately discovering they’ve sucked each other dry.

The relationship perfectly captures one of the film’s central themes: The pursuit of personal satisfaction versus the fulfillment of duty. Thomas goes forward with his plan to build the spaceship that’ll take him back to his home world, but he still indulges in the earthly pleasures that Mary-Lou provides. He mentions he’s married, but neither seems to care as they enter a highly experimental relationship that awakens Thomas’ curiosity about the world.

Mary-Lou and Thomas challenge and tease each other, pushing their boundaries without expanding their worldview. Thomas doesn’t know or care about what Mary-Lou wants, while she can’t understand what he thinks. Roeg asks his audience the timeless question: an love survive with partners that might never fully understand one another? Is it even love, then?

Para Roeg, a verdadeira punição da vida é amar o que não podemos entender. O homem que caiu na Terra apresenta o amor como a distração e a tortura definitivas, uma bênção e uma maldição disfarçada. O filme não tenta capturar o romance tradicional porque é cínico demais para acreditar nele. Na sua opinião, o amor não é equilíbrio ou paz, mas caos e interrupção que podem sair tão facilmente quanto antes.

Life é um terreno baldio

Por fim, o homem que caiu na terra é um conto de falência: a ruína da terra, o corpo e a mente. Thomas escapa ao seu planeta seco e árido, procurando água para trazer de volta, apenas para se encontrar em um terreno terrestre totalmente novo e muito mais doloroso. Sua jornada na Terra é marcada pela miséria e vazio do Espírito, interrompida apenas por alguns momentos de alegria que parecem inúteis em retrospectiva. Seu corpo nunca envelhece, sua fisicalidade não murcha, mas seu espírito quebra além do reparo, mais tempo ele passa na Terra.

Eventualmente, Thomas se torna um prisioneiro de si mesmo. Deixado sozinho com seus próprios dispositivos, ele se torna desanimado, buscando refúgio nas distrações que a vida terrena o oferece. O vício em álcool é uma parte importante do filme, tornando -se a verdadeira armadilha de Thomas. Ele passa anos trancados em uma torre de marfim, mas sua mente é a prisão que ele não pode escapar. Sua curiosidade juvenil se torna uma experiência cansada, e seu intelecto outrora impressionante se torna ignorância voluntária. Depois de experimentar as alturas da vida humana, Thomas termina seus dias no mais baixo. No entanto, Roeg e Bowie se recusam a assumir uma posição sobre Thomas, contra ou a favor. A dupla se mantém em retratar a jornada de Thomas o mais honestamente possível, pintando um retrato único de dependência e miséria aumentado pela ambiguidade deliberada do filme.

_O homem que caiu na Terra é a rara peça de cinema que se destaca por causa de sua própria existência. É um épico de ficção científica sem ciência, uma história de amor sem romance e um dos melhores filmes espaciais sem nunca mostrar espaço em si. O remake, agora em Paramount+, oferece uma nova e modernizada visão dessa história atemporal, mas resta saber se o mesmo desespero honesto que o filme seminal de Roeg teve está neste remake. O homem que caiu na Terra é um unicórnio de um filme, a rara exploração da humanidade que acha nossas falhas tão intrigantes quanto nossos pontos fortes. Pode ser confuso com os padrões de hoje, mas ainda é um relógio digno para os amantes de cinema. E se o remake se aproximar de seu assunto com a mesma disposição refrescante que o original, a Paramount+ poderá ter um clássico.

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