David Bowie is justifiably regarded as one of the most influential musicians of the 20th century, but amidst his chameleonic recording career, he also graced the screen with some remarkable film work. Collaborating with such notable auteurs as David Lynch, Christopher Nolan, and Marin Scorsese, Bowie's captivating presence made every film in which he appeared more rich and rewarding. That said, how do his films rank from worst to best?
Bowie's first film role came in 1976, not long after his first number-one single "Fame" made him a crossover success in the United States. Playing Thomas Newton in The Man Who Fell to Earth, the musician instantly established himself as an otherworldly, compelling screen actor. For the next few decades, that establishment held with roles big and small in films such as and Labyrinth. In 2016, his tragic death surprised fans a mere two days after his 69th birthday and the release of his final album, Blackstar.
Whether in the strains of Ziggy Stardust and the Spiders from Mars or his iconic performance as Jareth the Goblin King, Bowie's legacy remains that of an ever-changing, breathtaking artist. Here are his major films, ranked from worst to best.
16. Just A Gigolo (1978)
German actress and singer Marlene Dietrich came out of retirement to appear in Bowie's second film, about a Prussian officer who returns to post-World War I Berlin with no job prospects and decides to work at a brothel. The film's director, David Hemmings, has gone on record as saying that the film was supposed to be an ironic dark comedy, but the result is more of a melodramatic mess. Panned by critics at the time, it's still considered a black spot on the artist's resume. When asked about it in NME in 1980, Bowie responded, "Listen, you were disappointed, and you weren't even in it. Imagine how we felt... It was my 32 Elvis Presley movies rolled into one."
15. The Linguini Incident (1991)
This 1991 crime comedy centers on a New York City bartender (David Bowie) and waitress (Rosanna Arquette) who team up with an underwear designer to rob their restaurant. There's not much to write home about here; while Bowie's and Arquette's chemistry is plenty charming, the film seems incapable of reconciling its style premise with its desire to strike a bizarre, heightened, surrealistic tone. This one is for completionists only.
14. August (2008)
Josh Hartnett stars in this undercooked and underwhelming indie about the tech bubble bursting in 2001 New York. There's some intriguing atmosphere here from director Austin Chick and a solid enough performance from Hartnett, but the film is saddled with a screenplay that seems to have no interest in actually exploring its subject. Bowie shows up near the end to liven things up and give a much-needed sense of gravitas as Hartnett's main investor Cyrus, but at that point, it's just too little too late.
13. Arthur and the Invisibles (2006)
The Fifth Element director Luc Besson tried his hand at animation, adapting his own children's book for the screen. The result is a bit of a mess, but a fascinating one nonetheless, overstuffed with the director's usual eccentricities and wonderful sense of mischief even as it struggles on the animation front. Bowie could probably be having a bit more fun here as the villain, but it's nevertheless a delight to see the name "Malthazard the Cursed" on his IMDb page. Interestingly enough, the actor was replaced by fellow rock legend Lou Reed for the sequel.
12. Into the Night (1985)
This John Landis comedy is a classic example of actors having more fun than the audience. The plot concerns a jaded aerospace engineer played by Jeff Goldblum, who becomes involved with a jewel thief played by Michelle Pfeiffer. Bowie plays one of the gangsters relentlessly pursuing Pfeiffer, rounding out a cast that also includes Dan Aykroyd and Richard Farnsworth. It sounds like great fun, but Landis shows a shocking lack of discipline, leaning far too much on gimmickry and "inside baseball" shenanigans that would probably only appeal to his close circle of filmmaker friends.
11. Mr. Rice's Secret (1999)
This inspirational drama is as lightly charming as it is absolutely riddled with cliches. The story concerns a terminally ill preteen also dealing with a stern father and schoolyard bullies, who finds a treasure map devised by his deceased whimsical neighbor, Mr. Rice. Bowie lends his otherworldly flair to Rice, giving the film a haunting center that may not have been present were it not for his involvement.
10. The Hunger (1983)
The Hunger is all about aesthetics, and as such it's garnered something of a cult following in the decades following its release. Bowie plays a vampire, which would probably be this movie's main selling point were it not for the fact that he's also in a throuple with Catherine Deneuve and Susan Sarandon. Directed by Top Gun helmer Tony Scott, who earned his stripes in the world of music videos, this film is all style over substance, but when the style is this good (and genuinely sexy), it's hard to look away.
9. Absolute Beginners (1986)
"Absolute Beginners" is one of Bowie's best songs, and his last track to chart in the Top 5. The film for which it was written is by no means a triumph, but there's plenty of ambition on display. Bowie has a small but mighty role as a smooth ad exec, and he tears into it with all the flamboyant gusto one could expect. When the film veers away from its splashy musical numbers and colorful ensemble, the story leaves much to be desired, but as a portrait of a cultural era of London, it's worth a watch.
8. Twin Peaks: Fire Walk With Me (1992)
Bowie's role as missing FBI agent Phillip Jeffries gets David Lynch's cinematic prequel to Lynch's recent return to Twin Peaks has elevated Fire Walk With Me's cultural cache.
7. Basquiat (1996)
It may be surprising to many that David Bowie and Andy Warhol only met once, despite hanging with the same crowds and Bowie having written a tribute song in his honor. Nonetheless, when Bowie was called upon to play the legend in this Jeffrey Wright-led biopic about one of Warhol's proteges, Jean-Michel Basquiat, he turned in a stunning performance. According to Paul Morrissey, the director of many of Warhol's films, it's also one of the most accurate and humane portrayals of the artist, keying in on his "comical and amusing" side more than his perceived greatness.
