Bisset went to France to appear in François Truffaut's Day for Night (1973), earning the respect of European critics and moviegoers as a serious actress. She stayed in France to make Le Magnifique (1973) with Jean-Paul Belmondo, a hit in France but little seen in English-speaking countries. She was one of many stars in the British whodunnit Murder on the Orient Express (1974), an enormous success. In Britain, she starred in the remake of The Spiral Staircase (1975). Bisset went to Germany for End of the Game (1975), co-starring Jon Voight. In Italy, she played opposite Marcello Mastroianni in Luigi Comencini's The Sunday Woman (1975). She returned to Hollywood to support Charles Bronson in St. Ives (1976).[9]
Day For Night 1973 Movie Torrentl
In 2005, Bisset was seen in the Domino Harvey biographical film Domino with Keira Knightley, directed by Tony Scott, playing a fictionalised version of Paulene Stone (renamed "Sophie Wynn"), whom she actually knew from their time as models in London. She filmed a cameo appearance for Mr. & Mrs. Smith, but her performance was cut from the movie.[20] In 2006, Bisset had a recurring role on the FX series Nip/Tuck as the ruthless extortionist James LeBeau. Her next role was in Save the Last Dance 2 (2006) as the protagonist's ballet instructor. On Lifetime she appeared in an adaption of the Nora Roberts novel Carolina Moon (2007).
This digitally remastered glam-rock classic features David Bowie as his gender-bending alter-ego Ziggy Stardust, in his final performance, given at London’s Hammersmith Odeon in 1973. The original album which inspired the show, “The Rise and Fall of Ziggy Stardust and the Spiders from Mars” - named as one of the Greatest Albums of All Time by both Rolling Stone magazine and VH-1 - celebrates its 30th anniversary on June 6, 2002.... The Ziggy Stardust album is being reissued as a multi-disk set by EMI this summer. Outfitted in some of the most outrageous, form-fitting, colorful outfits this side of Mars, David Bowie helped invent glam-rock in the early 1970s. With striking red hair, longer legs than a flamingo and a face of strikingly androgynous beauty, his Ziggy Stardust was an inspiration for the recent glam-rock spoof, “Hedwig and the Angry Inch.” In the movie he performs some of his greatest hits, including “Changes,” “All the Young Dudes,” “Oh! You Pretty Things,” “Suffragette City,” “Rock ‘N’ Roll Suicide,” and “Ziggy Stardust,” as well as Lou Reed’s “White Light/White Heat” and the Jagger-Richards classic, “Let’s Spend the Night Together.” D.A. Pennebaker, one of the originators of cinema verite in the United States, continues to be one of its leading practitioners. His concert movies, DON’T LOOK BACK with Bob Dylan and MONTEREY POP with Jimi Hendrix, are among the most beloved music movies of all time. Partnered with Chris Hegedus since 1974, he has made movies on blue grass music (DOWN FROM THE MOUNTAIN), Broadway musicals (ORIGINAL CAST ALBUM: COMPANY) and pop music (DEPECHE MODE 101) as well as the roller-coaster ride that is modern political campaigning, THE WAR ROOM. Did you know before you filmed Ziggy Stardust that you would be filming David Bowie in his last performance as that character? DP: No. I think people in the record company probably knew. I mean, RCA got me to go there, since I didn't really know David Bowie at all before I started filming, and I'm sure they had some sort of intimation as to what was going on, but that was sort of beside the point, since he had already done a grand tour with that band, both in the U.S. and in England. It never occurred to me that he would discontinue performing as Ziggy on stage; it was just some sort of arrangement he had made with his press people and management beforehand. Again, I didn't feel like this was any sort of huge loss to the music world. At the time, I think they all wanted to make something more out of it, and I don't really know why, because they really weren't very big on making the film. David wanted to make the film. RCA really didn't, though: They wanted to sell it off to ABC for one of those late-night shows that showed music films. That was all they really wanted from it. Originally, they came to me because they had this invention in New Jersey that the head of RCA had invented, a machine that showed something on a disc. So they wanted the first hour or first half-hour of the film to be the first thing shown on this new machine. And I had to go out and talk to all these technicians and tell them why it was important to put someone like David Bowie on a disc. And none of these people had the slightest idea who David Bowie was. I mean, they were all just engineers. So it was kind of a peculiar problem. But then the more I looked at it and showed it to people, the more I felt that it was really a theatrical film. It was totally unlike Don't Look Back in that it never really broke the private life of David particularly, but he wasn't really that interesting, in a way. He was kind of a businessman more than anything else. I mean, he may very well have been interesting, but it wasn't really anything you could put on a screen. So it came down to that incredible stage performance, which I felt was worth trying to sell as a theatrical film. But it took me many years to get everybody to agree to that. What finally happened was that David came over, and we spent a month remixing tracks so it would work as a film. Became the special man...
Digitally remastered for its 30th anniversary theatrical re-release, D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars comes on as a slightly dusty, but still darkly glittering jewel of a film, capturing the feeling of a night in 1973 that marked the end of an era in rock and social history. The film documents a day in the life of Ziggy Stardust (a persona adopted by David Bowie the year before), both backstage and in concert. While the distractingly clumsy concert footage and once-shocking costumes and make-up of Ziggy and his entourage may seem dated to jaded modern eyes, Bowie's creation of the perfect plastic pop persona seems all too familiar these days, and quite prophetic in retrospect. Most importantly, the heart of the film - the music - is improved upon by Tony Visconti, Bowie's long-time producer, whose remix of the soundtrack corrects the sound quality concerns that delayed the movie's initial release, truly making this a must-see for all music fans.
ZIGGY STARDUST AND THE SPIDERS FROM MARS by Phil Hall (07/08/2002) 1973, Un-rated, 91 Minutes, A Cowboy Pictures Release Few films have undergone a more prolonged gestation period than D.A. Pennebaker's rock documentary "Ziggy Stardust and the Spiders from Mars." Filmed during the July 3, 1973 final concert of David Bowie's landmark "Ziggy Stardust" world concert tour, the film was in post-production until 1983 due to Pennebaker's inability to achieve an adequate soundtrack mix. By the time the film was completed, it had only a few 16mm screenings set up by the filmmaker himself (mostly in American college towns) and then had a one-time TV broadcast on, of all things, ABC's "Movie of the Week." Plans for a late-1980s theatrical release were squashed when the film was given a quickie video release. Finally, three decades after the footage was shot, "Ziggy Stardust and the Spiders from Mars" is being theatrically released in a digitally remastered edition. Yet despite its unusual history, "Ziggy Stardust and the Spiders from Mars" is not an entirely successful movie. Watching the film today, Bowie's Ziggy Stardust persona can easily seem very quaint and perhaps a bit silly. The brouhaha from 30 years back about the glam rock trappings clearly overlooked one basic fact: although Bowie and his bandmates were tarted up in make-up, jewelry and androgynous clothing, there was absolutely nothing outrageous about the way they performed on stage. If anything, "Ziggy Stardust and the Spiders from Mars" is perhaps the straightest of straightforward concert films imaginable. By the time Pennebaker filmed the concert, Bowie was ready to jettison the Ziggy Stardust persona he fashioned for himself. Indeed, during the show he blithely announces this will be his final live concert performance (and for years afterwards, Bowie seemed to keep Pennebaker at arm's length as the filmmaker constantly sought his input to help finish the movie). Bowie's readiness to move on to something else may account for the stiff and rather indifferent performance he gives during the first part of the concert, with juiceless renditions of "Wild Eyed Boy from Freecloud" and "Space Oddity." Bowie and the film actually don't come into full-force until the midway point, when his rendition of Jacques Brel's intense "My Death" is punctuated when the audience crashes in by singing the final line, causing a startled Bowie to crack a spontaneous grin and issue a jolly thanks. After this unlikely intrusion, Bowie's electric personality is at full charge as he vamps the audience and puts raw emotion into versions of his "Suffragette City" and "Rock ‘N' Roll Suicide" and in covers of Lou Reed's "White Light/White Heat" and the Rolling Stones' "Let's Spend the Night Together." As a concert documentary, "Ziggy Stardust and the Spiders from Mars" is something of a mixed bag. On the downside, Pennebaker and his camera crew have a strange habit of being in the wrong place: the picture is constantly being focused while Bowie and company are in full swing, or the camera is placed too far away to adequately capture the presentation, or the performers' heads are sometimes lopped off by poor framing. The film also has so many cutaways to screaming and moaning teenage girls in the audience (and nary a man in camera range) that it is easy to imagine Pennebaker culled his reaction shots from a David Cassidy concert rather than a David Bowie show. To its credit, however, the film has some rich backstage moments: a distracted Bowie, puffing on a cigarette, gets his make-up, jewelry and costumes applied by an army of nameless dressers; Bowie's then-wife Angela, a life-size platinum blonde kewpie doll, exclaims breathlessly and joyously in a Melanie Griffith-style voice about the multitude of fans and limousines outside the theater; and a hirsute and chubby Ringo Starr chatting with Bowie as the latter prepares to get into yet another form-fitting gender-bender costume. And, of course, there is the Bowie music. Even when the renditions don't quite catch fire, the intelligence and maturity of Bowie's work still challenges and captivates, and it is not difficult to overlook the film's faults once the music begins. Whereas so many rock offerings of that era seem dated today, Bowie's music remains timeless. Bowie fans who recall when "Ziggy Stardust" was still new and those who weren't even born at the time can share in the vibrancy of the film's soundtrack, which has been brilliantly remixed by Tony Visconti for this edition. Through a stroke of brilliant scheduling, "Ziggy Stardust and the Spiders from Mars" is being released at the same time that Bowie's latest album "Heathen" is being unveiled. Bowie fans who need a reason to celebrate the trajectory of the artist's career can make use of this cinematic Alpha and CD Omega
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