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Tonite Let's All Make Love in London

  • 1967
  • 1h 10min
CALIFICACIÓN DE IMDb
6.9/10
391
TU CALIFICACIÓN
Tonite Let's All Make Love in London (1967)
DocumentalMúsica

Agrega una trama en tu idiomaPeter Whitehead's disjointed Swinging London documentary, subtitled "A Pop Concerto," comprises a number of different "movements," each depicting a different theme underscored by music.Peter Whitehead's disjointed Swinging London documentary, subtitled "A Pop Concerto," comprises a number of different "movements," each depicting a different theme underscored by music.Peter Whitehead's disjointed Swinging London documentary, subtitled "A Pop Concerto," comprises a number of different "movements," each depicting a different theme underscored by music.

  • Dirección
    • Peter Whitehead
  • Elenco
    • Alan Aldridge
    • Julie Christie
    • David Hockney
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.9/10
    391
    TU CALIFICACIÓN
    • Dirección
      • Peter Whitehead
    • Elenco
      • Alan Aldridge
      • Julie Christie
      • David Hockney
    • 11Opiniones de los usuarios
    • 6Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
  • Fotos2

    Ver el cartel
    Ver el cartel

    Elenco principal25

    Editar
    Alan Aldridge
    • Self (segment "Painting Pop")
    Julie Christie
    Julie Christie
    • Self (segment "Movie Stars")
    David Hockney
    David Hockney
    • Self (segment "Painting Pop")
    Andrew Loog Oldham
    Andrew Loog Oldham
    • Self (segment "It's All Pop Music")
    Edna O'Brien
    Edna O'Brien
    • Self (segment "Dollygirls")
    Pink Floyd
    Pink Floyd
    • Themselves
    • (as The Pink Floyd)
    Vanessa Redgrave
    Vanessa Redgrave
    • Self (segment "Protest")
    Robert Wace
    • Self
    Syd Barrett
    Syd Barrett
    • Self
    • (sin créditos)
    Jim Brown
    Jim Brown
    • Self
    • (sin créditos)
    Vashti Bunyan
    • Self (segment "It's All Pop Music")
    • (sin créditos)
    Eric Burdon
    Eric Burdon
    • Self
    • (sin créditos)
    Michael Caine
    Michael Caine
    • Self (segment "Movie Stars")
    • (sin créditos)
    Allen Ginsberg
    Allen Ginsberg
    • Self
    • (voz)
    • (sin créditos)
    Mick Jagger
    Mick Jagger
    • Self (segment "It's All Pop Music")
    • (sin créditos)
    Ace Kefford
    • Self
    • (sin créditos)
    Donyale Luna
    Donyale Luna
    • Self
    • (sin créditos)
    Lee Marvin
    Lee Marvin
    • Self (segment "As Scene from U.S.A.")
    • (sin créditos)
    • Dirección
      • Peter Whitehead
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios11

    6.9391
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    Opiniones destacadas

    5Bribaba

    Peep show

    Tonite Let's All Make Love In London - Yes, lets. A much better idea than making a documentary on the subject, especially one like this. Peter Whitehead's 1967 film is at least narration-free, though I soon found myself pining for something, anything other than the contributions of Mick Jagger ("in the future we'll only be working four hours a day"), or Michael Caine, giving a hint of the old reactionary he was soon to become ("short skirts cause a loss of moral fibre").

    On the plus side there's Julie Christie keeping it delightfully unreal and David Hockney ("what I find really sexy is footballers kicking their legs up in the air"). In between times there's a shaky home movie going on, purporting to be about the club scene. Strange, then, that the camera, which never lies, spends an inordinate amount of time being pointed at girl's legs. Pink Floyd's Interstellar Overdrive provides the aural backdrop while Eric Burdon and the Animals are shown recording When I was Young, but it's another song of theirs that this film may bring to mind: We Gotta Get Out of This Place.
    Phantom Moonhead

    Pure Enjoyment For Syd Barrett Fans

    This is basically a short film focusing on Pink Floyd. It was shot at the UFO club in London if I am not mistaken. There is some footage of John Lennon being introduced to Yoko Ono so this is very important to Beatle fans as well. The rest is Pink Floyd in the studio recording the films soundtrack, "Interstellar Overdrive". This is a 16 minute version of the song and a wonderful little look in to the early career of Pink Floyd and their brilliant founder,Syd Barrett. This is the most common footage of Syd because it has been released to the public,a great place to start for anyone interested in "The Madcap".
    ThePrinceofPeas

    Pink Floyd/Syd Barrett - Interstellar Experience

    It's worth a viewing, just to say you've seen it. Sadly, it's dull and they picked my least favourite floyd tune 'Interstellar' to focus on. Still, it's a time-piece and you should have a wee look at it. Regards as the madcap laughs... Drop me a line Floyd/Syd fans:
    kavanagh

    A vital historical footnote, or not as the case maybe

    I agree. This film is total and utter rubbish. But so were the times in which it was shot. Sex had only been invented in 1963 (pace P Larkin) and by 1967, London was revelling in this new discovery. However, this piece of unmitigated nonsense has one valuable asset: if any of the younger generation wonder where Mike Myers got the concept for Austin Powers then this is the lodestone. True, Myers drew inspiration from some truly dreadful TV series of the 60s but this film will give junior cineasts great help in understanding the lingo and the background to Mr Powers. Watch it once by all means for the sake of reference. And then as Monster 17 says, get help!
    ChristerThor

    A time-capsule from the London Psychedelic Underground

    For die-hard fans of Pink Floyd only. This is a history-lesson into the psychedelic London underground of the mid-60's, where light-shows, "Happenings", Beat-poetry, and spacey music were all the rage. This film is mainly several pieces of concert-footage of Pink Floyd in its original incarnation, when Syd Barret was still in the band, prior to him loosing his marbles and being replaced by David Gilmour. You see Syd and the band playing some long sets of "Interstellar Overdrive" on stage under strobe-lights, a piece of music that true fans love and which the uninitiated often find meandering and boring due to the modern short-attention span. This is Space-Rock, it ain't Britney Spears.

    You get to hear Allen Ginsburg recite poetry over images of the London night-life. You see John Lennon attending one of Yoko Ono's famous performance-art pieces, prior to them having met. You see Eric Burdon walking around. It's basically a slice-of-life in the heart of what's now called "the Swinging 60's". View it, if you can find it, for the history, if nothing else. For Floyd fans it's one of very few opportunities to see Syd Barret playing with the band, which is reason enough to seek it out.

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    Argumento

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    ¿Sabías que…?

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    • Trivia
      The film is divided into 7 "Movements" followed by a "Happy End". The segments are called (1) Loss of Empire (2) Dolly Girls (3) Protest (4) It's All Pop Music (5) Movie Stars (6) Painting Pop; and (7) As Scene From the U.S.A.
    • Citas

      Herself (segment "Dollygirls"): [Edna O'Brien] You meet a boy now, or a man, and you don't really have to protest about your virginity. In fact, it will be a great disappointment to him if you say, you know, it's the first time, I mean he'll leave the room.

      Herself (segment "Dollygirls"): The other thing that makes a woman free now is, I suppose, money. They have money and they can work so the dependence on a man isn't as great. But the thing that makes her very un-free and always will, I imagine, is although she has a sort of vagrant heart, a woman does tend to like being with one man even if it's only for three months. She's not as content, I think, going from bed to bed.

      Herself (segment "Dollygirls"): You've always got decadent people but what is so strange now is that the most gifted, the most articulate and the most thinking, conscious people are decadent because of the time in history that they're alive in. And there's nothing else you can say to that unless you're God and if you're God you can say, "it's alright, I won't drop the bomb".

      Herself (segment "Dollygirls"): I do. I believe in female promiscuity except that it happens a different way that a woman probably likes to shack up with a man for three months and then with another man whereas a man would like to shack up for an evening. And I think there's still this awful, and I wish we didn't have it, because it's such a handicap, this thing of, falling in love. You know, it's such a nuisance. And I think women, no man will agree to this but I'm sure it's true, women are more devoted and committed to the notion of falling in love and therefore they fall in love, than men are because it is the one territory of adventure that a woman has. She can't go across bloody Africa, or if she does she'll become pregnant or, or anyhow she can't. She just can't yet. And maybe never will.

    • Conexiones
      Edited from Pink Floyd London '66-'67 (1967)
    • Bandas sonoras
      Interstellar Overdrive
      Written by: Pink Floyd, Syd Barrett, Nick Mason, Roger Waters & Richard Wright

      Performed by Pink Floyd, Syd Barrett, Nick Mason, Roger Waters & Richard Wright

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    Detalles

    Editar
    • Fecha de lanzamiento
      • diciembre de 1967 (Reino Unido)
    • País de origen
      • Reino Unido
    • Idioma
      • Inglés
    • También se conoce como
      • London, Frühjahr 67
    • Locaciones de filmación
      • Pall Mall, St James's, Westminster, Greater London, Inglaterra, Reino Unido(guards marching)
    • Productora
      • Lorrimer Films
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      • 1h 10min(70 min)
    • Color
      • Black and White
      • Color
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 1.37 : 1

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