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PINK FLOYD: THE WALL
A well-worn cinematic premise is given new life thanks to some arresting and unsettling live action and animated visual images and the iconic rock album that forms the soundtrack making 1982's Pink Floyd: The Wall a viewing experience that, despite obvious influences from other films, establishes its own credentials as a unique acid trip of a movie that might startle, confuse, and repel, but riveted this viewer to the screen.
The film introduces us to Pink (Bob Geldof), a burnt out rock star who has begun a methodical descent into complete madness, a madness that has found Pink building a symbolic wall around him that is shutting him off from the rest of humanity, who want to save him but haven't a clue as exactly how to break through.
Our story flashes back and forth revealing a troubled childhood for Pink,which included the boy's inability to deal with the loss of his father during the war and an emasculating mother who had some unhealthy influences on the boy. This somewhat disturbing character study reveals the central character's obsession with blood, violence, and destruction and it is all so effectively melded together that sometimes we're not sure what is real and what is a manifestation of this guy's shredded mental capacities where heavy drug use have to be a factor. And just when things start to become a little more cohesive, a truly unsettling political bent enters the story which hints at facism and its possible connection to being our hero's savior.
Originally, it seemed my unfamiliarity with the music of Pink Floyd might have had something to do with my initial confusion regarding this absurdist musical vision; however, as the film progressed, I realized that this was not the case, as the music framing every sick and bizarre image presented here was a perfect fit, so perfect that there were moments in this story, particularly the beginning images of young Pink during his demented school days, I actually found myself tapping my feet, the music having become a natural part of my experience.
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Director Alan Parker, whose resume as a director follows no rhyme or reason, is no stranger to mounting musical stories. He directed the 1980 musical Fame and the 1996 film version of the Broadway musical Evita and has a proven track record of combining music and visuals to maximum effect and even though Roger Waters is credited as both composer and screenwriter, making this cinematic vision had to be a completely collaborative effort because the video and audio here had to be conceived simultaneously for maximum effect, even if that effect is confusing and disturbing.
Parker and Waters have spared no expense here, the film is rich with impressive production values, including some unbelievable animation, which produces some of the film's most stomach-churning moments. If I had one technical quibble and I'm not sure if it was the film itself or the print that I was watching, but there are sections of the film where I really had trouble hearing the audio which was really a major faux pas for a film based on a record album, but I never took my eyes off the screen and never checked my watch. Not for all tastes, but fans of the 1975 Ken Russell film Tommy will have a head start here.
A well-worn cinematic premise is given new life thanks to some arresting and unsettling live action and animated visual images and the iconic rock album that forms the soundtrack making 1982's Pink Floyd: The Wall a viewing experience that, despite obvious influences from other films, establishes its own credentials as a unique acid trip of a movie that might startle, confuse, and repel, but riveted this viewer to the screen.
The film introduces us to Pink (Bob Geldof), a burnt out rock star who has begun a methodical descent into complete madness, a madness that has found Pink building a symbolic wall around him that is shutting him off from the rest of humanity, who want to save him but haven't a clue as exactly how to break through.
Our story flashes back and forth revealing a troubled childhood for Pink,which included the boy's inability to deal with the loss of his father during the war and an emasculating mother who had some unhealthy influences on the boy. This somewhat disturbing character study reveals the central character's obsession with blood, violence, and destruction and it is all so effectively melded together that sometimes we're not sure what is real and what is a manifestation of this guy's shredded mental capacities where heavy drug use have to be a factor. And just when things start to become a little more cohesive, a truly unsettling political bent enters the story which hints at facism and its possible connection to being our hero's savior.
Originally, it seemed my unfamiliarity with the music of Pink Floyd might have had something to do with my initial confusion regarding this absurdist musical vision; however, as the film progressed, I realized that this was not the case, as the music framing every sick and bizarre image presented here was a perfect fit, so perfect that there were moments in this story, particularly the beginning images of young Pink during his demented school days, I actually found myself tapping my feet, the music having become a natural part of my experience.
Director Alan Parker, whose resume as a director follows no rhyme or reason, is no stranger to mounting musical stories. He directed the 1980 musical Fame and the 1996 film version of the Broadway musical Evita and has a proven track record of combining music and visuals to maximum effect and even though Roger Waters is credited as both composer and screenwriter, making this cinematic vision had to be a completely collaborative effort because the video and audio here had to be conceived simultaneously for maximum effect, even if that effect is confusing and disturbing.
Parker and Waters have spared no expense here, the film is rich with impressive production values, including some unbelievable animation, which produces some of the film's most stomach-churning moments. If I had one technical quibble and I'm not sure if it was the film itself or the print that I was watching, but there are sections of the film where I really had trouble hearing the audio which was really a major faux pas for a film based on a record album, but I never took my eyes off the screen and never checked my watch. Not for all tastes, but fans of the 1975 Ken Russell film Tommy will have a head start here.