David Bowie (December 9, 1978) When Bowie’s Bad, He’s Bad – Melody Maker

A critical review from Melody Maker of David Bowie’s film “Just A Gigolo,” published in the UK on December 9 1978. The piece assesses Bowie’s performance and the film’s troubled production, offering one of the earliest reactions to his post‑Berlin screen work.

Writer: Michael Watts

Artist: David Bowie

Date: December 9 1978

Length: 4 min read

The article opens with the line “When he’s good he’s very good, but when he’s bad …” and proceeds to dissect the film’s shortcomings. Set in post‑World War I Berlin, “Just A Gigolo” is described as a confused and lifeless production directed by David Hemmings. Watts criticises the script, direction, and acting, noting that Bowie’s portrayal of a wounded Prussian officer lacks conviction. The review highlights the film’s failed promise of a meeting between Bowie and Marlene Dietrich, which never occurred, and concludes that the film’s Berlin premiere was met with boos — echoed by the critic himself.

“The forthcoming David Bowie film, Just A Gigolo, could well be the movie bummer of next year.”

PUBLICATION

Publication: Melody Maker (UK)

Date: December 9 1978

Country: United Kingdom

Section / Pages: Film Review

Title: When Bowie’s Bad, He’s Bad

FEATURE HIGHLIGHTS

Event: Review of David Bowie’s film “Just A Gigolo”

Era: 1978 – Post‑Berlin period

Tone: Critical and disappointed

Photography: Film still of Bowie and David Hemmings in uniform

Audience: UK music and film press readers

THE STORY BEHIND IT

“Just A Gigolo” was Bowie’s first major film project after his Berlin Trilogy period. Directed by David Hemmings and co‑starring Sydne Rome, Kim Novak, and Marlene Dietrich, the film attempted to blend historical drama with social satire. However, its uneven tone and lack of direction led to poor reception. This Melody Maker review captures the disappointment felt by critics who expected Bowie’s cinematic ventures to match his musical innovation. Watts’s closing “Boo! Boo! from me, too” became emblematic of the film’s critical fate.

WHAT THE CLIPPING SHOWS

Event: Melody Maker review of “Just A Gigolo”

Era: 1978

Tone: Harsh and dismissive

Photography: Black‑and‑white film still of Bowie and Hemmings

Audience: British music press readers and film enthusiasts

CONTEXT AND NOTES

The review reflects the tension between Bowie’s experimental artistry and mainstream expectations. “Just A Gigolo” was conceived as a European art film but suffered from production difficulties and misaligned ambitions. Despite its failure, the project remains a curiosity in Bowie’s career, bridging his Berlin years and his later cinematic successes. The Melody Maker piece stands as a snapshot of Bowie’s transitional moment between music and film.

“Boo! Boo! from me, too.”

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