To look at Ziggy Stardust and the Spiders from Mars and be much too critical of it, and this is now four months since David Bowie left his corporeal form (has it been that long already?) is difficult. I know I can certainly nitpick certain things, mostly in the streak of the 'auteur'; given that this is DA Pennebaker, who also brought us basically the definitive Dylan doc from the era a decade before this, Don't Look Back, and the precursor to Woodstock in Monterey Pop, this isn't quite as superlative as those films as far as the Cinema Verite fly-on-the-wall approach. There's some behind the scenes stuff, but it's not terribly involving (aside from seeing Bowie's make-up put on to make him Ziggy) as the conversations seem muted and uninteresting (yes, even with Ringo backstage which seems a feat).BUT, and this is the big but here, I know deep down I don't care, at least as far as why I wanted to watch this again. And somehow, of all things, watching his life performance here of 'Space Oddity' finally made me cry. I don't know whether it would've brought me to tears (not for too long, just enough, and some of it was due to feeling a connection with the audience as a couple of people shown by Pennebaker's camera were also in tears), but it was in that moment it hit me: we won't get this again, not quite in this style, not quite in this style, not shot on such rough film and in such an atmosphere.Of course there are still provocateurs in rock/pop (Marilyn Manson on the heavier side, Lady Gaga on the more space-driven and sexual, if it can somehow get more sexual than Bowie), but Bowie was his own sound much as Tarantino was and is his own filmmaker: taking from various sources (rock, blues, glam from T-Rex, the avant-garde rock of Lou Reed, Iggy Pop to an extent) and making it his own giant and unmistakbale SOUND in full caps. And don't forget this is David Bowie as Ziggy friggin Stardust and the Spiders from Mars - including the practically incomparable guitarist Mick Ronson on guitar playing like he's ten years ahead of the fashion and heavy metal stars only still in his own class - and playing off of all the works he'd done up through the masterpiece Aladdin Sane.Here you get to see him perform many of his big hits (along with Oddity you get 'Changes' and 'Suffragette City' and his own rendition of 'All the Young Dudes' which he wrote), and Pennebaker and his crew are at times breathless to keep up and yet have enough cameras and sense to also get the crowd. The audience is a key part of this, even as at times it's hard to see all of them and the lights make it into its own stylized piece of filmmaking; they're often seen only briefly, and yet what we see is enough and, again, I think this helps to connect the audience watching the film further with the band. But for all the hits (and some covers, like 'White Light White Heat' and 'Let's Spend the Night Together'), the stand-outs here are the songs that people who only know Bowie from classic rock radio won't know as well.By the time that Bowie and the Spiders get to 'Time', which is more indebted to German lounge singing of the early 20th century (Threepenny Opera anyone?), the softer but incredibly incisive 'My Death', and a wild, possibly overlong but who the hell cares rendition of his most metal-ish song 'The Width of a Circle', he's on fire as a performer and totally in control of how he can command a stage and an audience. In other words it may not be the perfect rock documentary, hence why it's not the full top-star rating. But as far as performances by mega-stars in their prime, this is a keeper (and ironic that this was his "final" performance, of course just the beginning of the many many Bowies). And yet the tears I had briefly watching this and coming to grips after months of feeling numb to his loss were I think the fact that he'd still be iconic if all he left was this.

but I like it. This is a terrific concert recorded 30 years ago by Bowie. Considering that Bowie is in his 50's now and still recording and touring this is an excellent opportunity to see him in his prime. His voice is in great shape & the songs are first rate. Ziggy is one of the peaks in Rock and Roll history. Also Mick Ronson is one of the greatest rock guitarists ever. Much has been made of the costumes & Bowie's use of mime etc. but it is the music which carries the day.

David Bowie, on stage at London's Hammersmith Odeon circa 1973, performing under the guise of his alter-ego, the androgynous space alien Ziggy Stardust. Bowie now claims Ziggy was not his bow to transvestism but rather his way of bucking the system; that's all well and good, but seeing D.B. in space-drag may make you think otherwise. He looks frequently ridiculous in these dated get-ups, and director D.A. Pennebaker gives Bowie no mystery or ambiance (he shoots straight-on without frills, probably the obstacle of a tiny budget). Why remaster something of the 'point and shoot' movie variety? Well, it's the 30th Anniversary of the album "The Rise and Fall of Ziggy Stardust", so they exhumed this from the mothballs to capitalize on the hype. The music here is indeed exciting, maybe even titillating, but it should provide for a much grander experience strictly on your headphones. ** from ****

I still love David Bowie, and still very much would have loved to see one of his Ziggy Stardust shows... but this video is a cruel teaser. I couldn't understand why a videotape book I saw called it "practically unwatchable, and unlistenable"--now I know why. Bowie does his best to put on a good performance, but that's not the problem here--the problem is that this may very well be the WORST filming of a concert ever made. The cameras, obviously handheld, are constantly refocusing themselves and forgetting their places, they are shaky, the quality is no better than your typical home movie, they all too often focus on the audience for far too long when we wish we could see the changes going on on stage in the show instead, the sound quality is hideous, and worst of all, we only get an IDEA of what the concert was like (I still have no idea what even the full STAGE looks!). If it weren't for the fact that this is a legitimate release, I would swear that it was an illegally-filmed movie made by a group of fans who snuck cameras into the concert. It's THAT bad. It's really terrible when the cameras are so set on awful closeups and are so shaky and unsteady that you can't even understand most of what's supposed to be going on on stage. After watching it, I felt like I had only been given a hint of what one of those Ziggy-era shows was like... and I still have no more of a full idea of what the experience was like than I did before sitting down to watch this. It's terribly, terribly sad that this is apparently the only footage shot of one of those shows--because we Bowie fans who weren't there would STILL love to see the show in its entirety.