“If there is no other reason, it is always exceptional to hear Song from Bowie. Early in my conversation with Brett Morgan, director of ‘Moonage Daydream’, the conversation converged with fans who, even before Movie Getting to the cinemas, he complained about the absence of a biography.
This bullshit would be understandable only if the song Moonage Daydream was an official autobiography of the musical genius who left the planet in 2016, leaving one of the most fascinating legacies in popular culture. It’s not an issue. Morgan transcends the documentary, transcends the autobiographical. further than expected.
With access to the musician’s vast archive, the director has created a cinematic epic of sound and image that traces a mosaic of emotions as he follows the different phases of Bowie’s five-decade career. “Moonage Daydream”, unlike Movies More traditional musicals, no answers provided. Instead, it makes us pay more attention to questions.
says Morgan, who signed the the documents Cobain: A Heck Montage and Rolling Stones: Hurricane Crossfire. “What made me completely unprepared was the realization that the film was going to become a kind of roadmap for how to experience life as richly and fully as it was for David.”
“Moonage Daydream” is a frantic, powerful collage of life captured in moments, with narration from Bowie himself. Along the way, we see how he emerged in London in the 1960s as a fully developed artist, evolving into a new creature over the years, writing and redefining concepts of pop culture.
Every shift, every revolution, didn’t start from the cogs of the corporate system that drives the music marketing world: Bowie’s mind actually works on the frequency of Watch Tomorrow. Abstract and intoxicating, Moonage Daydream captures how he turned that vision into art.
To translate this feeling into cinema, Brett Morgan needed to build a visual vocabulary capable of understanding the sensory attack in his hands. “I entered the editing room not only with David’s art as a tool, but also with the art that inspired him,” he explains. “Then I sought the freedom to use each part, like the films, and the pieces inherent in their composition, like the bricks that the film is made of.”
Another artistic decision that helped Morgen form “Moonage Daydream” was to showcase everything Bowie had done as a performance. He continues, “It was his quotes, his moments as an artist.” “He performs when he’s giving interviews. It’s a performance on stage, it’s a performance in ‘The Man Who Fell to the Ground’, it’s a performance in documentaries.”
Looking at Bowie’s work as acting, Brett Morgen felt free to use footage from Nicolas Rouge’s The Man Who Fell to the Ground not as Bowie’s performance, but as a record of the artist captured at that very moment. He notes that “every part of ‘Moonage Daydream’ was made this way.” “That was the agreement I made with the audience to weave the vastness of the material together.”
It would be so easy to make “Moonage Daydream” a David Bowie hit show peppered with photos of the star. However, it will not be consistent with its non-conforming nature. His music is inseparable as a means of expressing his life and art. But what Brett Morgan picked up on was that she wasn’t the only one.
Moonage Daydream’s greatest triumph is its use of visual and audio immersion to guide the creative direction that has guided Bowie. What emerges from the cacophony of creativity is a vibrant contemporary music book, a festive track that calms audiences in the complexity of the mind of a creative genius. It is as if Bowie himself led the hand of a Murjum in drawing his life.
The image brought by “Moonage Daydream” is, after all, one of reverence and celebration. Of revelation and mystery. We don’t need to understand why David Bowie was such a behemoth of inspiration and beauty, just know that he was. Just feel. Any attempt to explain this feeling would be an exercise in absurdity. “If for no other reason, it is always exceptional to hear Bowie’s music.”
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