Adicionar um enredo no seu 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.
- Themselves
- (as The Pink Floyd)
- Self
- (não creditado)
- Self (segment "It's All Pop Music")
- (não creditado)
- Self
- (não creditado)
- Self (segment "Movie Stars")
- (não creditado)
- Self
- (narração)
- (não creditado)
- Self (segment "It's All Pop Music")
- (não creditado)
- Self
- (não creditado)
- Self
- (não creditado)
- Self (segment "As Scene from U.S.A.")
- (não creditado)
Avaliações em destaque
However, if you really like Pink Floyd and really get into their early stuff, this video is a real find. Peter Whithead directed this as a dedication to Syd Barrett and to capture the mood of swinging London. It includes the greatest version of 'Interstellar Overdrive' ever recorded. And a song called 'Nick's Boggie' which is a very hard to find Pink Floyd track. See this film for no other reason than to hear the music and enjoy the scenery.
If you like the film, another good video to get is the Pink Floyd London '66-'67 video. It is 30 minutes long and was used as a Promotional trailer for 'Tonite, Let's all Make Love in London'. The film 'More' is also an interesting film with a soundtrack by Pink Floyd, that features their earlier work.
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.
Sadly the color of the film faded into brownish red mostly, every trace of blue completely gone. It is obviously the work of someone new to the medium, because he does not hesitate to try out various effects, using the music to its best advantage.
I just saw the film yesterday at Vienna"s International Film Festival and Peter Whitehead was there and talked about it. Great guy!
P.S. I don't understand why so many reviewers write about Pink Floyd in this film. They are there but don't play an important role. Some reviewers definitely refer to a different film.
Você sabia?
- CuriosidadesThe 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.
- Citações
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.
- ConexõesEdited from Pink Floyd London '66-'67 (1967)
- Trilhas sonorasInterstellar 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
Principais escolhas
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- London, Frühjahr 67
- Locações de filme
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
- Tempo de duração
- 1 h 10 min(70 min)
- Cor
- Mixagem de som
- Proporção
- 1.37 : 1