デヴィッド・ボウイ、末期がんを知ったのは死の3カ月前だった

「彼が病気のことを打ち明けなかったのは、おかしなことだとは思いません」
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2016年1月10日に死去したロックミュージシャン、デヴィッド・ボウイの一周忌を前にした2017年1月7日、新しいドキュメンタリーが、肝臓がんとの18カ月に及ぶ闘いの後に亡くなったシンガーの晩年を明らかにする。

フランシス・ホワットリー監督の「デヴィッド・ボウイ: 最後の5年間」は、1月7日にBBC2で放送され、2003年「リアリティ・ツアー」でのボウイと、また彼の最後のスタジオアルバム「★(ブラックスター)」の制作過程を追いかけている。

最後のシングル「ラザルス」のミュージックビデオ(MV)を監督したヨハン・レンクによると、ボウイは死のわずか3カ月前に自分が末期がんであることを知ったにもかかわらず、それでもMVの制作に取り組んだという。

BBCによると、レンクはドキュメンタリーの中で、彼は死と再生というテーマをフィーチャーした「ラザルス」のMV撮影が終了するまで、ボウイの診断結果のことは知らされなかったという。

「我々が撮影をしていた週に、彼が自分の人生の最後を悟っていたんだと、後で気付いたのです」と、レンクは語った。

音楽を通じて自分自身の運命を見つめているかのように描かれた「ラザルス」のMVは、目を包帯で覆われたボウイが病院のベッドにいるところから始まる。それでも、レンクはそのMVがボウイの病との関連性を否定している。ガーディアンによると、レンクが「ラザルス」の構想を練ったのは、ボウイの診断を知る1週間前だった。

「デヴィッドは、『ただシンプルに演じるMVにしたい』と言っていました」と、レンクは振り返った。「私は即座に、『曲名がラザルス(ラザロ)だから、ベッドにいるのがいるかもしれない』と言ったのです……私にとっては、それは聖書的な意味であって……彼が病気であったこととは何の関係もなかったのです」

「ヨハネによる福音書」第11章によると、キリストの友人ラザロは病のため死去したが、その4日後、布教先から帰ったキリストが墓の前で祈り呼びかけると奇跡的に蘇生した。

ボウイは彼の家族を守り、そして最後のアルバムの制作を続けるために、病気のことはほとんどの人には打ち明けなかった。ガーディアンによると、ボウイは「ラザルス」の続編を死のわずか数週間前に制作していたという。

「彼が病気のことを打ち明けなかったのは、おかしなことだとは思いません」と、フランシス・ホワットリー監督はガーディアンに語った。「彼は40年以上も自分の人生を語り続けてきて、言いたいことはすべて言った。これ以上は何もないと考えていたのです」

「デヴィッド・ボウイ: 最後の5年間」の予告編はこちら。

ハフィントンポストUS版より翻訳・加筆しました。

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デヴィッド・ボウイ スタイルの変遷
(01 of27)
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Bowie\'s hair was always iconic, even when was still known Davy Jones, as proven by this shot of hairdresser Sylvia Halliiday placing a hairnet on his head at the BBC Television Centre before his group The Manish Boys Performed on the programme \'gadzooks\'.\n

\nBowie first appeared on TV in 1964, when he was aged just 17 and was invited onto BBC2\'s \'Tonight\' show as part of \'The Society For The Prevention Of Cruelty To Men With Long Hair\'.
(credit:REX)
(02 of27)
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An early photo call in 1967 saw Bowie developing his androgynous style in a cropped embroidered jacket. (credit:REX)
(03 of27)
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A softer side of Bowie\'s image was captured in this makeup free shoot at his home in Foxgrove Road, Beckenham, in 1969. (credit:REX)
(04 of27)
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Bowie\'s bouffant drew some admiring looks at the London Palladium on 30 November 1969. (credit:REX)
(05 of27)
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Bowie began the transition from 60s hippy to 70s glam when he donned a pair of spray-on glittery leggings at a \'David Bowie and the Hype\' gig at the Roundhouse, London, on 11 March 1970.\n (credit:REX)
(06 of27)
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A portrait shot on 8 June 1972 to promote his third album \'The Man Who Sold The World\', during the Ziggy Stardust and the Spiders From Mars Tour. \n

\nBowie has spoken openly about how his alter egos helped him to overcome crippling shyness. \"Offstage I\'m a robot. Onstage I achieve emotion. It\'s probably why I prefer dressing up as Ziggy to being David,” he once said.\n
(credit:REX)
(07 of27)
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Bowie\'s getup on the cover of his 1971 album \'The Man Who Sold The World\' raised a few eyebrows.\n\nThe silk maxi dress was designed by Michael Fish, who specialised in \'man dresses\' and ran a boutique in Marylebone.
(08 of27)
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David Bowie at Empire Pool Lenort in\n1972 in a brightly-coloured quilted ensemble and red lace-up boxer boots. \n

\nThe shock of red hair was styled by Suzy Fussey of Evelyn Paget ladies\' hair salon on Beckenham High Street. The colour was inspired by a picture of Marie Helvin.\n
(credit:REX)
(09 of27)
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Ziggy Stardust may be one of Bowie\'s most iconic personas, but he wasn\'t with us for long.

Appearing first in the Brian Aris photoshoot for the cover of album \'The Rise and Fall of Ziggy Stardust\' in 1972 - the fall came just 18-months after the rise, at Bowie\'s dramatic Hammersmith Odeon “retirement” gig in July 1973.
(credit:REX)
(10 of27)
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\"I can take on guises of different people I meet,\" he said in 1973. \"I can take on their accents - Im a collector.\" (credit:Michael Putland via Getty Images)
(11 of27)
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Bowie took to the stage at the Hammersmith Odeon 1973 gig in beautiful creations designed by Kansai Yamamoto. (credit:REX)
(12 of27)
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There is some dispute over why Bowie made the decision to shave off his eyebrows during this period.\n

\nSome say designer Kansai Yamamoto advised him to do so, but according to other reports he drunkenly shaved them off when Seventies glam-rock band Mott The Hoople rejected the song \'Drive In Saturday\' that he had written for them - named Drive In Saturday.\n
(credit:REX)
(13 of27)
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David Bowie in concert at Hammersmith Odeon, London, in 1973.

This catsuit was designed by Yamamoto and was later worn by Kate Moss when she went to pick up Bowie\'s Brit award in 2014 and for a 2003 Vogue cover shoot.
(credit:REX)
(14 of27)
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The Aladdin Sane cover look that launched a thousand makeup tutorials. \n

\nIn 1973, Celia Philo directed the shoot for David Bowie’s album Aladdin Sane.\n

\n\"You have to realise that, in 1973, men weren’t walking down the King’s Road with brightly coloured hair and wearing make-up,\" said Philo.\n

\"London was on the cusp of all that, with glam and then punk fashions about to explode. \n\n

\"But with Bowie it was always theatrical, not fashionable – it was all about adopting different personas, an act during which he became someone else.\"\n\n

The makeup was masterminded by makeup artist Pierre La Roche from The House of Arden, who continued to work closely with Bowie throughout 1973.
(15 of27)
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The dazzling blue eyeshadow and pink lip look from the \'Life On Mars\' video released in 1973 was also the work of La Roche. \n

\nOn working with Bowie La Roche is often quoted as saying: \"He has a perfect face for makeup you see. \n

\nHe has even features, high cheekbones and a very good mouth. \n\n

\"I have to be careful though because his skin is very fine and some of the base powders I use are very strong. They can make the face quite soft\"\n\n\n
(16 of27)
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Bowie\'s most visually arresting persona was Aladdin Sane.\n

\nHere Bowie poses in Kansai Yamamoto’s wondrous monochrome PVC bodysuit - which he wore on tour to the delight of fans.
(credit:Masayoshi Sukita)
(17 of27)
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Bowie at Hilversum TV studios proving high heels can be masculine.

\n\nThe reason Bowie/Ziggy wore an eyepatch in 1974? He had a terrible case of conjunctivitis, but he wasn\'t going to let that stop him looking chic.
(credit:REX)
(18 of27)
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Bowie\'s transformation from Aladdin Sane into The Thin White Duke was a stark change.

\n\nGone was the shock of red hair and PVC outfits and in their place was a slick suited gentleman with grey eyeshadow up to his brows.\n\n
(credit:1976, Gijsbert Hanekroot via Getty Images)
(19 of27)
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Bowie\'s locks returned to red for his appearance in \'The Man Who Fell To Earth,\' in 1976 (credit:REX)
(20 of27)
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\'The Man Who Fell to Earth\' - Candy Clark and David Bowie in 1976. (credit:REX)
(21 of27)
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Turn ups and tailoring, Bowie slayed in a low key look on Bing Crosby\'s Merrie Olde Xmas\' in 1977. (credit:REX)
(22 of27)
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Bowie\'s hair, brows and leggings fought to be the centre of attention in his role as the Goblin King in the 1986 film \'Labyrinth\'. (credit:REX)
(23 of27)
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(24 of27)
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David Bowie performing in concert - Los Angeles, CA, USA - 1987 (credit:REX)
(25 of27)
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Bowie brought back the heels - this time kitten - for his performance at the Brit Awards, in Earls Court, London in Feb 1996. (credit:REX)
(26 of27)
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In the video for his last single \'Lazarus\' Bowie takes on a darker, unsettling look.
(27 of27)
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At the end of the video, Bowie is dressed in a paint-striped outfit similar to one he wore during \'The Man Who Fell To Earth\' period, before he steps back into a wardrobe.

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