'Moonage Daydream' isn't just a portrait of David Bowie — it's a beautiful blur of sound of vision that immerses you in the Thin White Duke's creative mindset. And it's brilliant, says Rob Sheffield. The Rolling Stone review:
It’s a fitting approach for the subject, who always saw himself as a blank screen, a canvas for the audience’s desires and fears. “The artist is strictly a figment of people’s imagination,” he says in the film. “We’re the original false prophets. We are the gods.” The Dame saw the rock star’s mission as seducing his way into the public imagination, changing the way people saw themselves and each other.
There’s a great 1973 TV clip with the U.K. chat-show host Russell Harty, who seems disarmed by this guileless creature all dolled up on his couch. “What were you doing before you hit the bright headlights?” Harty asks. “Were you a nobody who suddenly thought, ‘Jesus, I must get into the scene by some other way?’” Bowie gives an innocent schoolboy smile. “I’ve never asked Jesus for a thing,” he says. “It was all my own initiative.”tour, with the toughest band of his life.
Morgen really sets the scene where the film reaches the late Eighties, the most dismal era for Bowie, musically and personally. We hear Dennis Davis’ drum track from “Sound and Vision” flow into the isolated vocal from “Absolute Beginners,” then into a swirl of deeply unpleasant late-Eighties interviews, where Bowie gets grumpy over the fact that he’s making lousy new music for the cash. There’s his Pepsi ad with Tina Turner. His Glass Spiders tour.
But it builds gorgeously into the film’s most emotionally powerful moment: Bowie stands in a hallway, with the hushed piano from “Word on a Wing.” Then the elevator doors slide open, just as we hear him say the words, “When I met Iman…” Like most Bowie overviews, the film skips over his Nineties artistic rejuvenation, which started after he married Iman. There’s a fantastic opening blast of his 1995 techno trip “Hello Spaceboy,” but nary a hint of the soulful adult modern-love songs he wrote for his wife in the following years, on underrated albums like
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