David Bowie in Alan Clarke’s ‘Baal’ (1982)
Alan Clarke’s films generally go straight into the ‘once seen, never forgotten’ file – including David Bowie’s remarkable turn as Baal, Bertolt Brecht’s anti-hero, adapted by Clarke and John Willett from the 1918 play. Though it wasn’t exactly a frequently-performed work, British theatre audiences were treated to a Peter O’Toole star turn during the early 1960s, just after the actor’s Oscar-winning appearance in ‘Lawrence Of Arabia’.
For some reason, ‘Baal’ was scarcely mentioned in Bowie obituaries as one of his more successful screen performances, a serious oversight. Bravely broadcast by BBC One at 9:25pm on Sunday 2nd March 1982 (cosy Sunday night viewing it wasn’t), it was filmed at Television Centre (W12 8QT!) during the summer of 1981, just after Bowie had recorded ‘Under Pressure’ with Queen.
According to producer Louis Marks, Bowie jumped at the chance to portray the ultimate street punk, and was already a fan of Clarke’s work. He was also reportedly completely undemanding, modest and eager to please on set, requesting only a car and bodyguard and receiving the standard BBC fee.
Bowie could also hardly look less ‘star-like’ in ‘Baal’, with his battered teeth, dark eyes, ratty beard, grimy face and dishevelled clothes; he completely embodies the role of the amoral troubadour. Clarke captures him mostly in long shot with very lengthy takes in the classic alienating Expressionist style, but the camera positively adores Bowie’s Baal with his alligator grin, dangerous sexuality and moments of sudden violence.
He also delivers several plainsong ballads straight to camera in strident, superb voice, accompanying himself on banjo. The subsequent Baal EP, re-recorded at Hansa Studios with added instrumentation, even got to number 29 in the UK singles chart, Bowie’s last release for RCA.
‘Baal’ makes for fascinating viewing these days and you only wish the Beeb would take such chances again. Critics of the time were pretty scathing about Bowie’s performance but their comments make for fairly amusing reading these days.
It’s scarcely believable to think that only a year after ‘Baal’ was broadcast, Bowie was rocking the zoot suit and peroxide blond quiff for the Let’s Dance media offensive. It’s also virtually impossible to think of another star of such magnitude who would dare take on such a bleak, singular project. A true artist.
Matt P.
Source: moving the river
Bertolt Brecht’s Baal: The Structure Of Images
Bertolt Brecht's first play, Baal, written in 1918 has meaning on a variety of levels. For example, on one level it is a dramatic rehearsal of the relationship of Rimbaud and Verlaine. On another level, it stands as Brecht's reaction to the sentimental treatment of the dissolute poet in Der Einsame, Hans Johst's dramatic biography of Christian Grabbe. While Brecht's amoral presentation of the dissolute poet in the image of Baal does ridicule Johst's idealization and while his play was generated in his reaction, the work has its own integrity and transcends its original satiric intent. Baal is a satire of Johst's expressionistic exploitation of the traditional moral license granted the poet. However, Baal is also an unrestrained poetic statement about a chaotic, irrational, and self-destructive world and a celebration of the intense animal energy of its hero, who sees this world and calls it beautiful. To a degree, the play is also a kind of Ubu Roi in its .outrageous affront to the spectator's or reader's sensibilities. And it exists as an even stronger affront to ethical idealism and the conception of the integrity and continuity of the human personality. Hofmannsthal's "Prologue to Brecht's Baal" senses the disintegration of the traditional concept of human personality in the comments of his players who portray an acting company discussing the play: "The actor is the amoeba among all living things and therefore he is the symbolic man. The amoeba, that indeterminate primitive creature, which lets the situation dictate whether it should be animal or plant."
Charles Lyons
Source: modern drama
Sila Blume 
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