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Bowie General > Images Vol. 52

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homebrewPosted at 2025-12-13 13:50:08(3 hrs ago) (Bowie General / Images Vol. 52)


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These articles appear just as they were posted in the Usenet group alt.fan.david-bowie by group member Jamie Soule aka AladINSAnE. I have made no attempt to alter the formatting, spelling, grammar or edit in any way.

IMAGES: PART 52


The depiction of the death of Deneuve's character was  crucial, and
done incorrectly could quickly turn this serious film into a comedy. It
was not the time for disputes. Dick Smith had been putting in long hours
working on various design concepts which he thought might work best for
the film. His idea was a close up shot of Deneuve's beautiful face, then
have her "real" self appear by having a hideous demonic face emerge from
underneath her skin. Unfortunately, Scott had other ideas, as he wanted
the character to rapidly disintegrate, the whole body, hands, legs, and
face. Scott won, and Smith was not overly happy as his ideas were
totally refused, they were not even a consideration. This, of course for
a man of his ability and reputation as one of the best in the business,
was perceived to be an insult. Never the less, being a professional,
this would not effect the quality and integrity of his work. He went on
to design one of the greatest effects that had ever graced the screen,
up until that day. Using rubber he created a fake head and covered it
with a foam latex mask of Deneuve. Smith engineered a revolutionary  new
bladder system that had never before been attempted which made the
cheekbones retractable and would also allow the face to inflate and
deflate. This distortion caused a surreal and eerie effect. In addition
Smith wired the head to be fully functional, with eyes and a mouth that
were mechanically operated. Next, weeks were spent designing and
moulding a full body dummy of Deneuve, that was rigged to show her limbs
shrivelling and her body sinking inward. Smith had argued profusely with
Scott over this idea of having the body whither, as it was all too
"common," and he wanted something more original. Scott still demanded
it.  This effect however, never appeared in the movie because Scott
changed his mind, and what further annoyed Smith was the fact that Scott
kept changing his mind consistently about the effects. Scott would
change his mind quite often even when they were shooting a scene. What
really angered Smith, to the point that he made it known

The word on the set was that Scott seemed more concerned with the
bizarre, in having the  hair wisp around in front of Deneuve's face in
the final scenes of her demise. What infuriated Smith however, is that
the never before seen effects, using the new bladder system he
engineered and designed were barely visible. This was all due to the way
Scott shot the scene. First of all it was under lit, and second, the
camera was at such an angle that the movement of the head was barely
evident in the final film at all. A scene where Smith designed another
mechanical system to  make the mouth open and close was dropped entirely
by Scott. Apart from the treatment Dick Smith, and his efforts, received
at the hands of Tony Scott, among his peers The Hunger remains a
testament to his ingenuity. Smith finally won an Academy Award in 1984
for his work on the film AMADEUS, and in retrospect he admits that he
appreciates the challenge it was to work with director Tony Scott.
Anyway, as plagued as it was with problems making it, they do not show
in the final cut. The Hunger is one fine movie.

On March 2nd Baal was broadcast on BBC2. The reviews were not
spectacular, in this case however, these  bad reviews reflected good on
Bowie as an actor.  You see, Bowie had fought hard for legitimacy as a
bonefide actor, and the criticism contained in these reviews set him
made him one. You may wonder how this could be? It has to do with the
fact that  Baal was advertised as a "star vehicle for a big star," yet
according to one review in the Sun, it stated that this advertisement
insinuated that the play was on par with Bowie as an actor, and it went
on to say that David Bowie is "more than just a pretty face." meaning
the two were far from equal. Bowie, in their opinion was "too good" for
the part. The Sunday Times echoed this by saying that, "the actor is
more interesting than the play." This was further confirmed by this
quote about Baal saying it," is hardly the best vehicle to project the
spectacular Bowie style," in The Daily Express.. Baal was a flop, and
that couldn't have been better for David, as REAL ACTORS deserve better
scripts. Yes. REAL ACTORS.

It was during his stint as The Elephant Man when David Bowie met
director Nagisa Oshima. It is no secret that Japanese performing arts
have been a passion of Bowie's for decades. The ideas for the make up
and wardrobe for the Ziggy era performances were fashioned from the
styles used in  Kabuki, traditional Japanese theatre. Therefore, it
comes as no surprise that Bowie was well aquatinted with Nagisa Oshima's
work. He is best known for his film  Ai No Corrida, meaning In The Realm
Of The Senses, which holds the title of the most erotic film, as of
1996,  to ever be granted release by the British Board Of Film Censors.
Nagisa Oshima discussed an upcoming project that he was considering, and
perhaps Bowie would be interested.

,"No fucking interviews, and that's it." Do you know what that is, and
where it comes from? No? Well, let me tell you. That, my dear friends,
is something that anyone close to Bowie is quite familiar with. It is a
rule, and it is rule number one. Nobody, and I mean nobody, is permitted
by Bowie to comment on ANYTHING to do with his personal life, or you
face the consequences. This is by no means an idle threat either, just
ask those who have ignored him. Trust me when I tell you that there is
NOTHING ever said about him in the media that does not eventually make
its way back to Coco, and then to him personally if need be. If you
violate this rule then the punishment is simple, you are banished, and
banished forever. I am not kidding either, break this rule and David
Bowie will never speak to you again, and you will also never again be
allowed in his presence. This fate has befallen several people, but
overall  it has been a highly effective tool, a weapon actually,  over
the years which stops almost everyone who is close to you from revealing
any details of your personal life to the media. Notice I said "almost"
everyone..

On June 2nd, Terry Burns, David's half brother, injured himself severely
when he jumped out of a window at The Cane Hill Hospital in a botched
suicide attempt. Terry had been incarcerated a total of sixteen years,
except for the period of time that he was married to a fellow patient
who was an alcoholic, and that marriage ended in divorce. Terry was
taken to the Mayday General Hospital suffering from a broken leg and an
arm broken in two places where gangrene had set it. Submitting to
pressure from his aunt, Pat Antoniou, who visited Terry once a month at
Cane Hill, David agreed to visit his brother in July. Now, to those who
were not present, the success of that meeting between David and his
brother is anyone's guess, however, according to aunt Pat it was a
failure, and so much so that she broke the rule. Aunt Pat phoned John
Blake, a journalist at the Sun, and started to talk The topic? It was
David. Although what she said was true, to air it in the media was the
ultimate act of treason. Bowie had not seen Terry in nearly ten years.,
and this is extremely saddening due to the fact that had it not been for
the influence Terry had on Bowie over the eight months he was
recuperating at home from his eye injury, Bowie very well would not have
gone the way he did career wise. His exposure to music, literature, it
was Terry who gave him Keroacs book On The Road, a major influence on
David.  Bowie's exposure to art, history, theatre and politics were all
the result of the time Terry spent with him over those long months.
Bowie revered Terry at one time as a role model, a teacher, and someone
to trust, especially after his father, whom he also greatly admired,
passed away when David was so young. Terry lived on seven pounds a month
from social welfare, and Pat made up the difference with a bit of money,
cigarettes, a family tradition, and clothes. David, she said, "Never
lifted a finger." She had to "force" Bowie to visit his brother saying
that, "it was time he lived up to his responsibilities." She wanted
Terry put in a private hospital and a trust fund set up by David to pay
for his upkeep. During his visit Bowie promised Terry that things would
change, and he would be moved to a private hospital and cared for.   Pat
became annoyed enough to go to the media when nothing happened. "I'M
TERRIFIED OF GOING MAD, SAYS BOWIE," was the headline which appeared in
the Sun. Bowie's response was to look for the quickest way out of town.
The destination was Switzerland. With bags packed, and The Hunger almost
complete, an opportunity appeared for better way out. This was perfect,
a way to get out and still appear as though he was not really running
away from the humiliation, as the story had now spread to other papers.

It was two years since they last spoke, it took director Nagisa Oshima
that long to raise the five million dollars he needed for his film. He
called David, "Do you still want to do it? We start filming three weeks
from now in Raratonga." Bowie didn't wait, Switzerland was put on hold
and he headed immediately to the Cook Islands, here he could relax, tour
some of the islands, and wait until filming began. England, the press,
and aunt Pat were forgotten. Bowie viewed the opportunity to work with
Oshima as another step toward a personal goal of his, and that was to
direct a film one day. Nicholas Roeg and Nagisa Oshima were on the film
critic's list of "intellectual" directors, and these were the people
Bowie wanted to be tutored by. The scripts to him were not important,
this is painfully obvious even to a blind dead person in some cases, it
was instead the opportunity to work with these men. Oshima was
especially alluring to Bowie due to his reputation as an innovator, much
like himself. Also, like himself, controversy was never far away from
Oshima. His notoriety and reputation as one who did not conform began
with his public tirades which criticized tradition Japanese values. To
those of you who are familiar at all with Japanese culture, you will
know that the Emperor is "out of bounds" when it comes to political
action. The monarchy in Japan is revered, the Emperor Hirohito, who
ruled Japan during World War Two, was thought to be divine, and the
monarchy is traditionally treated with the same respect that is due to
the elders of society, who are granted absolute authority over the
younger generations. As a student Nagisa Oshima  committed the ultimate
act of defiance when he organized a protest against the Emperor. His
ideology naturally manifested itself in his work, especially his study
of a man and a woman who compete for sexual ecstasy that was portrayed
in his film that I previously mentioned earlier, In The Realm Of The
Senses. The film won awards as an erotic masterpiece in Britain and
America, and became the centrepiece of an obscenity trial in Japan.
Oshima is regarded as the the first completely modern Japanese
filmmaker, meaning unlike most of the performing arts in Japan, his work
is unaffected by tradition.

There is one person, by the name of James Grayson, a celebrated icon, a
steadfast contributor to alt.fan.david-bowie, and a friend of mine, who
will no doubt disagree with the following opinion. No doubt I will be
shot, I imagine it will all be in good cheer though. The cheeriness
coming of course at the pronunciation of my long awaited demise, and no
doubt Mr. Grayson will not only receive notes and cards of
congratulations, but large amounts of cash as well. However, while I am
still here I will make the most of it, and wield my pen one last time.
My pen, the orchestrator of chaos and confusion. My pen, the orator of
truth. The Hunger was not a horror movie, but this does not mean that
David Bowie did not ever act in one, because he did. The horror movie
that Bowie starred in? It was the one made by Nagisa Oshima, and it was
truly frightening. Merry Christmas Mr. Lawrence, a movie that when I
read about the subject matter, truly caused me a great deal of
excitement. I waited in  anticipation to see Bowie finally be able to
showcase his acting abilities, playing a "serious" role in a real drama.
I admit that I like war movies. Now, don't get me wrong, I do not mean
the ones that are military propaganda, you know, the calvary coming over
the hill at the last moment and saving the world from the evil grip of
tyranny. Tyranny breeds in countries that fail to think exactly as we
do, countries without McDonalds, the abode of the uncivilized. No Nike,
no Playstation, no Seinfeld and no Lexus. In the end though freedom
comes, as Colonel Sanders, with the aid of Rambo, Harry Potter and
Censored Timberlake, oh and the armed forces of the United States Of
America, and its allies, win the battle for liberation, defeating evil
once again. I like those movies which focus in on the realities of war,
or the historical details, the human issues,  the toll an armed conflict
takes on a country and its people, as well as those who have to fight
them.

Having read several in depth books by this time on World War Two, my
knowledge of the ordeals suffered by prisoners of war at the hands of
the Japanese was enough to conjure up a mental picture of Bowie's role.
I did this by taking articles I read about the upcoming movie, and
applying them to what I knew about the war. The film was hyped as a
serious film based on life in a Japanese POW camp, and in this camp
there was one brave soldier who stood up to the Japanese commanders.
David Bowie was cast in the role of this man,  and his name was Jack
Celliers. I know how Canadian soldiers were starved to death when the
Japanese over ran Hong Kong. The "Death Railway," which was built
between Burma and Thailand under the command of the Japanese forces, was
made famous in the film The Bridge Over The River Kwai. It was mostly
constructed by Australian prisoners of war who were malnourished,
ravaged by diseases such as dysentery and malaria, and suffered the
indignities of inhumane treatment. Untold numbers perished. Battles such
as Iwo Jima are a testament which demonstrate the Japanese will to fight
to the death, and to not surrender, and it was this will which was the
motivation behind the ill treatment of those taken prisoner by the
Japanese. They did not "understand" surrender, as it was not something
that any real Japanese soldier would ever contemplate. You fought, and
you fought to the death. Simple. This you did for your Emperor, and your
country, as it was considered an honour to have the opportunity to
fight, and die if necessary in battle. An indicator of how strong the
will was to die for the country is evident in the fact that there were
never enough planes to supply the endless list of those who had
voluntarily signed up to become Kamikazes. To surrender was unthinkable,
it was the ultimate act of a coward, a disgrace, and those who did were
reviled by the Japanese. The treatment they received was appropriate,
considering their worth as honourable men.

Wow, what a demanding role for Bowie I thought as my imagination went
into overdrive considering the possibilities. If they used him right,
this was going to be one Hell of a fucking amazing movie. To me it all
had to do with he channelling of the "Bowie Charisma," and I could think
of no better vehicle. The character of Celliers was defined as
rebellious, the type that will defy any authority rather than conform,
and the strength he uses to resist is born from the most powerful source
a man can draw from, more powerful as a shield than that which is
rendered from physical strength. Celliers fights the battle with the
power of an unbreakable spirit, a foe that his enemy can not see to
fight, an enemy whose strength can never be known. This type of
adversary is most dangerous,  you can break the body, you can destroy
the flesh, yet the spirit transcends the physical, where it can continue
to fight the battle. The danger is that quite often the death of the
flesh, and the victory of the spirit, will inspire others, giving them a
will to fight, where before there was none. This danger was illustrated
in The Bible when ten Roman soldiers were under orders to watch the tomb
of Christ after his burial. The reason ten were assigned was for the
assurance that at no time would the tomb not be watched. The Pharisees
knew full well that Jesus was far more dangerous dead than alive, and if
the body was to go missing, then true to his word Christ was not
defeated by death. They feared that if the prophecy of a resurrection
appeared to have been fulfilled, it would inspire a movement which would
be unstoppable. This fear was proven correct. In the same context, they
could destroy Celliers physically, however if his defiance remained to
the end there was no victory for his captors. The failure to break his
spirit would be a humiliating  defeat, as Celliers would become a
martyr, and a danger. His death would create a source for others to draw
strength and courage from that could never be destroyed. I contemplated
with great delight at the thought of the natural charisma, and the air
of internal strength personified naturally by Bowie, emanating from this
character,  being cast as a spirit of a man  that is unbreakable.
Knowing full well what the body of a defiant man in a Japanese POW camp
would look like, and to me seeing one in this state that inwardly shines
with the indomitable strength  Bowie projects so well, was what
convinced me that I was going to witness one of the most brilliant
performances ever, to truly captured of the will of a human spirit. This
film depicting the will, and endurance of the human spirit would be
stunning.  Reading the articles while the movie was in the making
combined with the waiting could be equated with torture at times.  The
words endurance, the will of the human spirit, stunning and torture are
all words that I used extremely well. This movie in fact, had an
immeasurable impact on me, and of the kind that I can honestly say I
will probably never experience again. This movie is so endearing to me
that I actually have two posters of it in my collection, one I am proud
to say is an original movie poster from the theatre, and the other one
is from the video release of the film.

The value of this film in connection with the endurance of the human
spirit was horribly understated. I had no idea how much my spirit could
truthfully endure until I saw this film the day it opened. As far as
stunning goes, I can say in my case I certainly was stunned. What I
witnessed on that screen was so fucking incredible that it vaulted all
my senses into a foreign world. I admit that I saw this film twice at
the theatre, and numerous times on video. The reason is that I still
can't believe it, and I do not hold out much in the way of hope that I
ever will. The film is quite elusive, er, I mean the application of the
art of any thinking being used in the making of this "movie" is elusive.
"Non existent" is a better combination of letters from the alphabet. In
a  mediocrity contest,  not even The Big Red Plastic Arachnid With The
Glowing Legs stands a chance, if put up against the cinematic drama of
Merry Christmas Mr.Lawrence. I am only going to deal with ONE OF THE
REASONS that this film is  beyond ridiculous, and leave the other nine
hundred and ninety nine alone.. Those of you who disagree are going to
tell me that this is all just my personal opinion, and you are right, it
is. Although it is an opinion,  I built it on an extremely solid
foundation, and should you care to dispute the validity of it, then all
I ask is that you bring forth something that can cast a doubt  on how
strong this foundation is. It all has to do with with believability. I
mean, did you take good look at this thing? I sure did, and this is what
I couldn't help noticing, it was this, and after all these years they
are still sources of intrigue.

The recollections I have of viewing Merry Christmas Mr.Lawrence for the
first time, was the unsettling feeling that swept over me, I remember
starting to sweat slightly, at the scenes which led up to the first
graphic display of the brutality in the film. It may only have been the
music building towards a crescendo, but for whatever reason, I just knew
something was going to strike. No sooner had this thought occurred, when
that wide angle shot filled the entire screen with the prisoners, and
probably like most others in the theatre at that moment I found it very
difficult to deal with my thoughts. The inhumanity and total disregard
that the Japanese had for human life became painfully clear looking at
the uniforms of those men. Not one wrinkle or one tear anywhere, the
sharp creases in the pants and shirts were proof positive that there
were men in that camp who were being housed in conditions which
certainly must have violated The Geneva Convention. All through the
movie, if you look closely, you will notice these are the neatest,
cleanest and most sharply dressed prisoners of war you will ever
encounter. To imagine what those prisoners who were confined to the
laundry facilities and the tailor shop must have  endured to keep their
comrades looking fit enough at all times for the runways of Paris,
London, New York and Milan made me weep. If there was any saving grace,
it was what was reflected in the durability of those uniforms. The way
they held up under those harsh conditions indicated that they surely
carried an Armami, Boss or Versache label. Quality this high would have
made it a bit easier for the men to keep the uniforms looking neat and
tidy. Judging by the gleam of what appeared to be footwear that was days
old, I don't think the prisoners who were tortured as cobblers lasted
long. Those forced into polish and buff slavery would have fared the
worst, the majority most probably collapsed and died in the same dirt
that they fought so valiantly.

While the Japanese officers and soldiers appeared to have a healthy
diet, by the look of things the same could not be said for Jack Celliers
and the other captives. Their physical appearance mirrored that of
persons forced to live on a steady diet of gourmet food.. One could
easily get the impression that rather than the balanced diet enjoyed by
their captors, the prisoners were given food much higher in fat
content.  The fat was probably contained in the rich sauces that are
known to accompany the meat dishes found in French cuisine. I say French
for a reason. I have seen this film many times, and each time I make an
effort to see if I can find anything that would point to  the fact that
these poor souls were fed something other than three or four course
gourmet meals. I diligently look for indicators such as wrappers from
Wendy's, Kentucky Fried Chicken, Arby's, Burger King, or Jack In The Box
in the exercise yard, but so far my search has not been very rewarding.
Some prisoners display the scars from being forced to devour second
helpings. I am confident director Nagisa Oshima wanted not only to
illustrate how the Japanese overfed their prisoners to thwart escape
attempts, as it is difficult to climb a fence and run away after
ingesting three multi course sit down meals in a day, but also that the
Japanese knew this food to be high in saturated fats, and fed it to the
prisoners anyway. Many POW's would die years after the war because of
the poor food they were forced to consume in detention facilities. These
brave men were felled by heart attacks caused by high cholesterol.

Many times some of the truly remarkable things seen in a film, come from
individuals who never appear on camera, and Merry Christmas Mr.Lawrence
is no exception. I know that there are people who made a major
contribution to this film that will never get what they deserve. I mean
of course that they will never get the recognition they deserve, and be
given a lengthy prison term, or the death sentence, er, I mean an award
for their efforts. I am referring to those who had the responsibility of
taking David Bowie, and making him appear convincing as a soldier, a
Commanding Officer , and a prisoner of war. If you failed to take
notice at the end result of their work, then I suggest that you go and
get the movie and watch it again, because it is something that you do
not want to miss.  The work done on Bowie by these people have made his
character so convincing that I have heard veterans of World War Two
actually say
"Darn, that fella looks familiar. As a matter of fact he's a dead
ringer to a guy I served with overseas," after seeing the front cover of
my 83 tour program. You and I both know that fads, fashions, and trends
are cyclical.  They appear, vanish, only to appear once again twenty to
thirty years later. Taking this into consideration, it would be a
mistake to think that these veterans were foolish to believe that  David
Bowie would resemble one of their comrades in arms. As accurately
depicted in Merry Christmas Mr.Lawrence, The Serious Moonlight style
hair was extremely popular with soldiers from mid 1943, up until the end
of 45, especially with combatants in the lower portions of Southeast
Asia. These were the areas in and around  Java, the Philippines,
Indonesia and the clusters of islands below. As depicted in the film,
this style of hair would  not succumb to the harsh conditions
encountered in jungle warfare and "wilt."  Apparently, if the haircut is
done correctly it will withstand not only the blazing heat and humidity,
but will also survive relatively unscathed in a monsoon, if one is not
out in it too too long that is. If you watch the movie closely,  you
will discover that Bowie always looks like he just got out of the chair
at the salon, and hasn't even gone out the front door. Here is something
you can try. Go to the library and get some history books that have
photographs of POW's from various conflicts. If I may, I suggest photos
from World War One, the Boar War, Vietnam, and the Gulf War. When you
have these look at their hair and you will see something most people
never notice. I can be trusted when I tell you that no matter what era
the battles were fought, every prisoner of war you will ever see has
hair just as marvellous as  the characters in this film. I am astounded
that the people behind the scenes  went as far as to make sure such a
minor detail was included in the movie for the sake of realism. So true
to life is the fact that captured soldiers had so much "dead" time that
they sent hours on their hair just to fill in the days. Okay, yes you
are right. I knew you'd get it. That wasn't overlooked either, look at
prisoner's hands and fingernails. Accuracy right down to the last
cuticle.

Not even the weight of Jack Celliers hat could move a hair out of place.
This is a true sign of a man born to command, when even his hair obeys.
The colour of Cellier's hair in the movie looked about as natural as
Iggy Pop would look as a television evangelist. As odd as this seems,
it's just more attention to detail, and another example of realism.
Celliers, being a battle hardened soldier, would have known by instinct
to colour his hair to suit the conditions of the terrain he had to
operate in. The colour would be carefully selected as to blend in with
the common colours of indigenous plants in the area, as well as the
surrounding earth and rock. When a soldiers hair properly dyed, and is
combined with the proper colour of clothing, it  affords him the
opportunity to move about without becoming a target. It's common sense
that any soldier who had to fight in dense jungle conditions, would dye
their hair bleach blond  to blend in with the varying shades of green
found in the vegetation. Looking at that hair colour, and then looking
at the jungle, I find it difficult to even contemplate for a second that
Celliers would ever have his fucking head blown right off of his
shoulders. Wait, now hold on. I take that all back. Now that I think
about it, that would have been a great way to start the movie!.

Maybe this also describes you.  I became extremely disturbed, and I got
quite emotionally upset when  I first watched the scenes of Bowie  being
tortured by his sadistic keepers. Truthfully, to this day, I still feel
some of those powerful emotions whenever I watch these scenes. In case
you need a refresher, I am talking about the scenes where Bowie has his
hands tied the rafters leaving his body dangling in mid air. Here I find
the emotions meant to be depicted on the screen are successfully
transferred to the audience. To expose any organic substance to these
scenes is truly sadistic, as they are painful to behold. To expect
anyone to give so much as one second of it any credibility, well, that
is best defined as a crime against all humanity. This one scene alone is
enough to classify this entire film as a fucking horror movie. It is
truly scary that this scene is meant to be taken seriously, instead of
an act of blasphemy to the art of cinematography. No piece of film
should have to suffer the abuse of having to bear these images. This
movie is a test of the human spirit, and it comes in the form of
exposing your spirit to this degree of mediocrity, and having it not
abandon you permanently. The next time you wish to tempt your spirit I
suggest that really pay attention to the horrors being committed during
these torture scenes. It won't take long for you to realize that it is
YOU THAT IS BEING TORTURED, and not David Bowie's manifestation of a
POW. Yes, as I see Bowie in a uniform that was part of the Giorgio
Armani spring  collection, laundered and pressed,  every cease in line
and button in place, his hands bound above him and tied to the rafters,
dangling above the floor are a pair of Gucci Custom Stitch Army Boots
that have been out of the box for three minutes, and show six and a half
steps of wear on them. The hair style that would have caused you to get
the shit kicked out of you had you worn it that way in 68, let alone in
the mid forties, is coifed in such a way that it has a beauty to it that
is even more spectacular than the wonderful follicles and strands he had
constructed, and displayed so eloquently during The Big  Red Plastic
Arachnid Fiasco. Not one strand on that head has been left unattended.
The precision with which the colour has been applied is beyond even the
hand of Michelangelo, it exonerates itself by displaying in perfection
the fact that it cost hundreds. The colour was not in existence in the
forties, and is not one which can be had even today, save for the use by
one individual, as the mixture is protected by patent laws. Upon
learning this Jesus Christ became angered, having plans after seeing its
radiance to use it in the next generation of halos. The eyebrows are
likewise fashioned.


Looking at Bowie's face as he hangs there, you will notice that a
miracle is unfolding, and I will bear witness to this. Now, since I have
personally spent a large amount of time in Vietnam, Laos, Cambodia and
other countries in Southeast Asia, I am very familiar with the weather
patterns, including the average temperatures for each of the seasons.
Here Bowie hangs by a rope in such a way as to induce pain and cause
suffering, a victim of torture, indoors during the afternoon, in a
tropical climate with no fan or air conditioner visible. If we put all
of these facts that are depicted in this scene together we can come to a
very clear understanding of what the conditions were like in that room.
Thinking back on my trips to Southeast Asia, I confess that I have never
had the opportunity to be strung up by rope and hung from any rafters.
As a matter of fact, opportunities to be tortured by any method have so
far eluded me, and therefore I am unqualified to offer much information
on these matters. Now, although can't offer much there, I sure can here,
and this is the voice of an expert. I happen to know from over fifty
personal experiences that if you happen to be outside in the vicinity of
the Equator in the afternoon, you are going to sweat. It's a natural
occurrence when the temperature is a hundred degrees  and over, as it is
most days in the dry season. Trust me that this sweat is quite
noticeable. Should you happen to be indoors, in a place where there is
no fan or an conditioner, you are going to sweat so fucking much that
you risk accidental drowning. Now, I know I should not say this because
I have nothing in the way of proof to support it, but I'm taking the
liberty anyway, and so you can just chalk this up to a stab in the dark,
a wild guess. I'm going to guess that if you sweat so much that you risk
accidental drowning just being indoors in a place where there is no fan
or an conditioner, that if you were also strung up by a rope and hanging
from the rafters with the ball joints at the end of each arm being
pulled out of their sockets you may sweat slightly more. Again, I am not
a physician, it is just my opinion that there may be some sort of
discomfort or pain associated with the dislocation of both arms, and
pain usually causes one to sweat somewhat.

My humble point is that anybody in Bowie's situation, swinging from the
fucking rafters in the Godamn tropics is going to look like they had
twenty fucking fire hoses turned on them. There may also be a look of
discomfort on the face of those who are being tortured, and their arms
are being pulled from their sockets. Well? You look then. You look at
Bowie hanging there. Notice if you will that there isn't one drop of
fucking sweat anywhere on that face. The grinning face. It must be some
weird British custom that I am unfamiliar with, to appear friendly and
cordial in these types of situations, to those who put you there. The
British are a fucking eccentric lot anyway, so it wouldn't come as any
surprise. Somehow though, I strongly doubt that it could be accomplished
with any regularity. Judging by his underarms, the Japanese provide a
very high quality antiperspirant to their prisoners. He looks like they
hung up the fucking front cover of GQ Magazine. Throw in the dialogue
and watch a new standard for mediocre appear right before your eyes.
This film is even less believable than that sad ass fucking version of
White Light/White Heat he continues to torture those who love him with.

Notice, as an act of mercy, I stayed away from the plants.

Merry Christmas Mr. Lawrence?

No, Good Riddance Mr.Flowereater.

AladINsaNE

To be, well you know.......................

*BACK TO THE INDEX <index.htm>*


""I don't begrudge any artist for finding an audience"
- David Bowie abt. 1987
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