Stardust is one of those films that boasts an excellent third act, but the problem is you have to labor your way through the first two to get there. First, let’s start with Johnny Flynn’s performance as David Bowie. It’s an interesting one. I know very little of the pre-Ziggy Stardust Bowie. There are resemblances between Flynn and Bowie, but you may or may not make the connection. This is not a negative. I appreciate that Flynn doesn’t try to “impersonate” Bowie’s singing voice because no one wants a film dominated by a lame impression.
The problem with the first two acts is the character of Bowie. He comes off as sort of a dick (and, I’m sure, intentionally so). Bowie thinks he can conquer America, and he’s very much alone in that belief. All the problems he experiences are his own doing, yet he blames Oberman and the record company for his failures. This is probably the first film where the record company is the good guy.
“It’s a lot to ask for us to endure to get to a fantastic ending…”
What we ultimately realize (late in the game) is that Stardust is a story of mental illness, which is hereditary in David’s family. I won’t spoil much here, because it’s the best part of Stardust. Once you realize the role schizophrenia plays in Bowie’s life and his recent actions, everything starts to make sense. It’s this acceptance of his fate that leads beautifully into his transformation into Ziggy Stardust.
Overall, the movie’s performances are good, not great, but enjoyable nonetheless. It takes a little time for us to accept Flynn as Bowie. He sings well and does a great job in the latter third’s transformation. Marc Maron has the hapless manager down pat, and the almost unrecognizable Jena Malone is deliciously nasty as David’s long-suffering and neglected wife. Stardust is an excellent looking film too. The early 70s never looked better.
The issue again is timing. The first two-thirds of the film builds up Bowie as an arrogant, prideful prick. He is continually self-sabotaging his career and frustrating Oberman’s efforts and anyone else who wants to give the guy a chance. It’s like I’m watching a child’s temper tantrum. It’s a lot to ask for us to endure to get to a fantastic ending in Stardust.
"…the first film where the record company is the good guy."
