It’s not uncommon for popular musicians to also take an interest in acting, but David Bowienever made any vanity projects where he was essentially playing a fictionalized version of himself. By working with filmmakers like David Lynch and Nicolas Roeg, Bowie frequently showed that he was interested in using his fame to help bold, experimental artists gain a bigger spotlight on their work. Bowie was given the chance to appear in Martin Scorsese’s passion project The Last Temptation of Christafter Sting had dropped out, according to Michael Wilson’s 2001 biography Scorsese on Scorsese. While Bowie certainly wouldn’t have been anyone’s first thought of someone who’d be in a religious drama, his performance was hardly the most controversial aspect of The Last Temptation of Christ.
Loosely inspired by the 1955 novel of the same name by Nikos Kazantzakis, The Last Temptation of Christ was a creative reimagining of the last days of Jesus of Nazareth (Willem Dafoe) when he was tempted by Satan to reject his calling to be a savior. The film attracted controversy because Scorsese dared to depict Jesus as a fully human character who was seduced by the possibility of living a mortal life with a loving family, which resulted in protests, death threats, and a terrorist scare that required the FBI to come in to give him protection. Although it was little more than a cameo, Bowie’s appearance in The Last Temptation of Christ is reflective of one of the reasons why Scorsese’s film is a masterpiece. By creating a version of religious scripture that felt modern and emotionally engaging, Scorsese was able to more fully understand the weight of Jesus’ sacrifice.
David Bowie Was an Interesting Casting Choice in ‘The Last Temptation of Christ’
While Bowie, already one of the biggest musicians in the world, would seemingly be distracting in The Last Temptation of Christ, Scorsese picked several unexpected actors to appear as pivotal religious figures. Among the supporting cast was Barbara Hershey as Mary Magdalene, Harry Dean Stanton as Saul, The Empire Strikes Back director Irvin Kershner as Zebedee, and a cameo by Scorsese himself as Isaiah. Bowie’s fame actually made his appearance more impactful because he was cast as Pontius Pilate, the fifth governor of Judea, who calls for Jesus to be crucified. Given that Pilate is a figure of authority who is meant to be a real threat to Jesus’ safety, having someone of Bowie’s prominence was integral so that he could be imposing when compared to Dafoe.
This 2022 movie is a sensory experience that encapsulates what it was like to watch David Bowie’s development as an artist in real time.
Bowie was hot off of his appearance in Labyrinth, in which he played the very over-the-top role of “The Goblin King,” but he gave a much more subdued, monotonous performance in The Last Temptation of Christ. Rather than being the sort of mustache-twirling villain that Pilate is often portrayed as being in Christian films, Pilate is a terse, pragmatic leader who sees the crucifixion as the only logical way to respond to the mounting pressures of the community. Scorsese’s brilliant idea was that all of the human characters in The Last Temptation of Christ would need to feel like pawns who aren’t characterized as being pure evil; it’s only within the stunning final sequence, in which Jesus imagines what his entire life would look like if he agreed to remain human, that Scorsese shows just how manipulative Satan can be. Had Bowie made Pilate feel like the primary antagonist of the story, it would have undercut the message that Scorsese was conveying.
‘The Last Temptation of Christ’ Has Aged Very Well
Bowie’s casting in the film reflects how Scorsese was not concerned about retaining era-specific language, as it was more important for the viewers to understand in plain terms how each of the characters were feeling. While Bowie doesn’t attempt an accent or dramatically change his vocal intentions, his acting style is consistent with the sharp, thoughtful prose within other collaborations between Scorsese and screenwriter Paul Schrader, who also penned Taxi Driver, Raging Bull, and Bringing Out the Dead. Not all of these actors are able to make the transition so seamlessly; Harvey Keitel’s strong New York accent makes his role as Judas seem a bit too goofy. However, it’s worth remembering that the lack of details regarding this moment in history means that virtually every interpretation of Jesus’ crucifixion is taking some form of creative liberties. If anything, Scorsese’s willingness not to replicate the antiquated style of Old Hollywood epics like The Greatest Story Ever Told helped The Last Temptation of Christ be more distinct.
The Last Temptation of Christ is yet another example that proves that Bowie was much better as a supporting actor than he was as a lead, as he could be most effectively utilized when a filmmaker knew how to take advantage of his talents. AlthoughLabyrinth is a cult classic, the overt sexuality that Bowie brought to the role has made it pretty creepy on rewatch; comparatively, Bowie only appeared in one scene in Twin Peaks: Fire Walk With Me, but the character of Phillip Jeffries went on to become one of the most important figures within the entire Twin Peaks mythology. Time has been kind to The Last Temptation of Christ, as Scorsese’s thoughtful analysis of the religious material looks even better when compared to manipulative, hollow adaptations like Mel Gibson’s The Passion of the Christ. Bowie may not have been the center of attention, but it’s yet another solid entry in his oeuvre as an actor.
The Last Temptation of Christ is available to rent or buy on VOD services.
- Release Date
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August 12, 1988
- Runtime
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164 Minutes
