More

A film typical of the style of the late 1960's early 70's, however, this is somewhat better. The story centers around a young man who meets an attractive young woman (Farmer). The woman introduces him to the sordid world of heroin addiction (referred to by the old street name, "horse", in this film). As the movie progresses, the hero becomes more and more into the drug scene.

I will not expose the ending as it is a bit of a surprise, and quite well done, too.

Most notably about this film, the soundtrack was done by Pink Floyd, who released it as an album the same year the film was made. Because of this, the film is of importance to hardcore Pink Floyd fans.

Not a great film, but a good one anyway, and one that carries an important anti-hard-drugs message. As it is somewhat rare, purchase prices can be fairly high to ludicrous, so it is advised you rent it first (if you can find it. My local Blockbuster used to carry it at one time).

'More' is a film legendary amongst Floyd collectors, and is well worth the time spent searching, since it features some of the bands' most spontaneous and eclectic work.

I was lucky enough to find some evidently battered and old publicity postcards for the film at a local art centre. The copy on the card makes for good reading if you enjoy the film, or are interested in it's history: _____________________________________________________________

"of beauty, sex and drugs: more"

"'More' probably contains more footage of naked bodies than any other film that has made it past Plymouth Rock. It's strong stuff. A powerful movie about drugs. Mimsy Farmer as Estelle, is one of the real baddies of all time, a totally amoral person who shoots heroin (even under her tongue!), cavorts in the nude, lies, steals, makes love to girls, and destroys every man who falls in love with her." - The Sunday New York Times.

"'More' is tough, candid stuff, clearly among the good ones." - National Observer.

"A very beautiful, very romantic movie." - The New York Times.

The card features a wonderful black and white picture of Estelle and Stefan in characteristically joyous mood celebrating their (perhaps new-found and ill-fated) freedom, and classifies the film as "'X' Persons Under 17 Not Admitted".

Interestingly the film saw general video release in France with a '12' certificate.

My copy, available via amazon.com, and released by Janus Films and Home Vision Cinema, does not state a certificate, though the drug use would probably warrant an '18' certificate if release were attempted in the UK.

Circa 2000, the film is broadcast on monthly rotation by Film Four, a UK subscription film channel.

I would be interested to hear from the director, Barbet Schroeder, as to why he decided to make More his first film, and more specifically what his interest in hippies- or rather this form of the Euro-hippie paradise- and about their demise. The film is, at least, true enough to keep one interested, but in its own kind of truth it's strange, biased. It's a given heroin (aka, "Horse") is awful stuff, rotten, the conclusion for many a dumb-headed drug user that sees that as the be-all-end-all, because it basically is: after that everything else stops, that becomes the life, and it's either a continuous run for more of the same or death. More starts off as something concerning a romance between a New York girl and a German man, but it becomes something else, for better or worse (sometimes both in the same scene).

It's basically about two "young" people, Estelle and Stefan, who meet in a city where Stefan has come as a sort of wanderer away from his home country. She's wandering too, sort of, and is maybe too friendly with a big-time pusher named Wolf. They end up on a remote island somewhere nearby and, after a somewhat daring grab for some "horse" by Estelle, they also find a pad in the form of a seemingly remoter house along the seashore. Schroeder's comment on youth and sex and drugs isn't too simplistic, which makes the film actually lucid and intelligent so many years later. It's both direct and subtle, more about the characters and then about the fact that what he's depicting could in other hands just be a propagandistic hippie-exploitation picture. Perhaps most pleasantly, and this is just a guess, Schroeder uses as inspiration the sort of long sequence from Bergman's Summer with Monika: two kids in an inexorable connection, some good some definitely not so good, set against (too?) perfectly shot landscapes.

On the one hand, I should mention that there are problems, some big ones in fact. The performances aren't very convincing throughout; a few scenes strike some power or have the actors in a good connection with one another, but Klaus Grumberg overplays himself even if he is an ornery German by nature (in that case I would've preferred Klaus Kinski in the part to make it crazier but deep enough for the subject matter) as does Farmer to her own degree. And there's gaps of naiveté in the screenplay that keep it from being as deep as it really thinks it is. On the other hand, there are two big things going for it: Nestor Almendros, the great cinematographer (i.e. Days of Heaven) is DP and is a big boost for a first time director like Schroeder. Nearly every image is seen with an awesome purpose or artistry, be it a shot of the cliffs by the sea or sun or something as simple as the seemingly natural light of a room.

The other thing is Pink Floyd, probably the main reason I and many others have heard of the film in the first place (years before I knew really who Schroeder was I saw the "More" soundtrack whenever I looked up Pink Floyd albums). It's very good music throughout, occasionally the mind-blowing variety that gives them the reputation they deserve. Some of it, too, is a little tedious, even as it is a movie that concerns free love and lots of drugs and sometimes both at the same time. I wouldn't rank it anywhere near as high as a Meddle or Animals, certainly not Dark Side, but it too helps to elevate the subject matter another notch, particularly when one least expects it or in low tones or floating in and out of buildings as Stefan or other walks on the streets. It's almost better atmosphere than the movie itself deserves, but overall More is still worth watching as a period piece- dated, but potent, like a less ambitious but more substantial Zabriskie Point.

Has there ever been an Angel of Death like MIMSY FARMER in Barbet Schroeder's 1960s heroin opus? Sort of Jean Seberg with a hypodermic. Pink Floyd score. Despite some ultimately insignificant weaknesses, a classic, shamelessly ripped off by Erich Segal/Noel Black for their inept JENNIFER ON MY MIND (1971), although Tippy Walker, playing a similar character, is herself very junkie-appealing in the latter mess. MORE, though, is terrific, a great 60s drug movie and, simply, an important document of its time. Very much a cult film so join the cult.

No American movie then, as far as I can remember, charts the same territory. MIMSY's an astonishing archetype, elevating this into mythic realms. Not for the faint-hearted. Great sex scenes too.

"More", maybe, is mostly remembered for the excellent soundtrack composed by Pink Floyd -in 1969 they weren't superstars yet. Actually they made an album with the film music, no fan can miss it!

But this is also the first film of German-French director Barbet Schroeder: it's a cult movie. When it was released, censorship everywhere cut several scenes of sex and drugs. It is also one of the first films to treat explicitly the theme of drug slavery.

A German boy travels to Paris and meets an American girl: they fall in love. Together they search for sun and exoticism. But it's a too high price love: she initiates him into drugs.

In the Sixties anti-drug campaigns were not like today, there wasn't much information. On the contrary, in many milieus taking drugs was a sort of spiritual experience... So it's quite surprising to see a film of that period which describes a nightmarish heroin experience.

The film is simple, not vulgar at all and shot in a "cinema-verité" style. Actors Mimsy Farmer and Klaus Grünberg are very convincing. "More" is a document of the end of the Sixties -and a document of the end of the hippies illusions as well.