More

Like most people, I was interested in "More" solely because of the Pink Floyd soundtrack, which has turned out to be the only Pink Floyd album that I still listen to after all these years. It was quite a surprise to run across the film in a local video store, in a digitally remastered version. It was an even bigger surprise to find that it is a pretty good movie.

Visually it is quite beautiful, especially when the two main characters are cavorting on the rocks on the Spanish island of Ibiza. And the use of the soundtrack music, which as far as I can tell is exclusively by Pink Floyd, is excellent. It was a joy to watch the film with my copy of the album alongside me, mentally ticking off each track as it was used in the film. Dave Gilmour's brief "A Spanish Piece" was the only one I didn't hear, and several tracks are used quite prominently, especially "Cymbaline," "Main Theme," and "Quicksilver." That latter track is tedious on the soundtrack album but works very well during the title sequence of the film, resurfacing at least once later on. Maybe now I can appreciate it on the album, now that I have some visuals to accompany it in my mind.

The plot of "More" is a little hard to take at times, especially in the early going, when the film appears to be merely a vehicle to demonstrate the hipness of those involved in making it. But eventually the film proves that it has much more than that to offer, as the plot becomes more focused. Why does Stefan take heroin? Why does ANYBODY take heroin, fully knowing the possible consequences? The film does not attempt to answer that question directly, but Stefan's heroin use seems a logical extension of his single-minded pursuit of pure pleasure.

I strongly recommend this film to any Pink Floyd fan who has an appreciation of the vastly underrated "More" soundtrack. I also recommend it to anyone who has an interest in sixties counterculture and how it was portrayed in the media. I have no idea how realistic this movie is, since I am too young to have experienced the sixties firsthand, but it does seem to capture the spirit of the times in a way that no other movie does.

I actually have the honor of having this movie on tape. This movie is based on a true story, which makes it even better, it started off with the director of this movie looking for his friend, and finding out he is dead, and the whole movie is based on the interviews they had with the people who met her friend. It's a great movie, and pink floyd are truly at their best, that is also my fave pink floyd tape. I suggest you watch this low-key deep movie

Kind of a low-key "Days of wine and roses," this is hardly a standard 1960's drug film. Director Schroeder (whom one can deduce is represented by Charlie the good-natured street hustler) states initially it's about a friend who died of drug overdose, so we know it's going to be a story of psychic corruption rather than an exploration of the ideals of Timothy Leary. It might seem that Schroeder is really glamorizing drugs simply by example, as well as by showing the sex life of the characters, and by employing a real psychedelic band for the soundtrack. However, Schroeder doesn't show subjective scenes of drug use; the characters trip out in their own world, usually detached from another, and the audience watches like the only sober person at a frat party. Their sex life soon peters out as drugs take over their lives. Using Pink Floyd was probably to attract unwitting youth and drug-users to see (without being preached to) how drugs can kill.

What probably does seem 'standard 1960s' to viewers today is the flat, realistic style of the film which doesn't grab the viewer (unlike the more recent "Sid and Nancy" or "Trainspotting") but was typical of independent and European films of that time. However it's still watchable, and a must for early-Pink Floyd (or "The Pink Floyd", as they're billed in the credits) fans.

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", 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.