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Ziggy Stardust and the Spiders from Mars

Ziggy Stardust and the Spiders from Mars

Music · 1983

Hammersmith Odeon, London, July 3, 1973. British singer David Bowie performs his alter ego Ziggy Stardust for the very last time. A decadent show, a hallucinogenic collage of kitsch, pop irony and flamboyant excess: a musical symbiosis of feminine passion and masculine dominance that defines Bowie's art and the glam rock genre.

Movie details

Ziggy Stardust and the Spiders from Mars

“The historic farewell performance of the king of glitter rock.”

1983 Music 1h 30m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

Hammersmith Odeon, London, July 3, 1973. British singer David Bowie performs his alter ego Ziggy Stardust for the very last time. A decadent show, a hallucinogenic collage of kitsch, pop irony and flamboyant excess: a musical symbiosis of feminine passion and masculine dominance that defines Bowie's art and the glam rock genre.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Ziggy Stardust and the Spiders from Mars?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

D. A. Pennebaker

David Bowie

David Bowie

Self / Ziggy Stardust

Mick Ronson

Mick Ronson

Self - Musician

Trevor Bolder

Trevor Bolder

Self - Musician

Mick Woodmansey

Mick Woodmansey

Self - Musician

K

Ken Fordham

Self - Musician

B

Brian Wilshaw

Self - Musician

G

Geoffrey MacCormack

Self - Musician

Court is in session

Put Ziggy Stardust and the Spiders from Mars on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.