Tonite Let's All Make Love in London

1967
1h 10m

IMDb RATING

YOUR RATING

Tonite Let's All Make Love in London (1967)

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.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.

Director
- Peter Whitehead
Stars

See production info at IMDbPro

IMDb RATING

6.9/10

391

YOUR RATING

Director
- Peter Whitehead
Stars

See production info at IMDbPro

Photos2

Top cast25

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Alan Aldridge

Self (segment "Painting Pop")

Julie Christie

Self (segment "Movie Stars")

David Hockney

Self (segment "Painting Pop")

Andrew Loog Oldham

Self (segment "It's All Pop Music")

Edna O'Brien

Self (segment "Dollygirls")

Pink Floyd

Themselves
(as The Pink Floyd)

Vanessa Redgrave

Self (segment "Protest")

Robert Wace

Self

Syd Barrett

Self
(uncredited)

Jim Brown

Self
(uncredited)

Vashti Bunyan

Self (segment "It's All Pop Music")
(uncredited)

Eric Burdon

Self
(uncredited)

Michael Caine

Self (segment "Movie Stars")
(uncredited)

Allen Ginsberg

Self
(voice)
(uncredited)

Mick Jagger

Self (segment "It's All Pop Music")
(uncredited)

Ace Kefford

Self
(uncredited)

Donyale Luna

Self
(uncredited)

Lee Marvin

Self (segment "As Scene from U.S.A.")
(uncredited)

User reviews11

6.9391

Featured reviews

5matlock-6

Of some historical note

Tonight Lets All... is not a flashy hollywood movie, designed for today's Attention Deficit Disorder type of filmgoers. What it is is a unique and well crafted look at London in the swinging 60's. Peter Whitehead made this film inspired by the London underground scene of 1966-67, which included such bands as Pink Floyd (who perform the great bulk of the films music), The Soft Machine, The Crazy World of Arthur Brown, and others. This is probably not the kind of thing that would be well recieved in theatres. There aren't any computer generated insects flaying people alive and being shot to bits in return, nor is there any gratuitous sexuality or repeated foul language use. As a documentary of the underground scene in 1967 London, Whitehead's film is a testament to vision, creativity, and the spirit of the day. There are film clips of Pink Floyd in the recording studio and performing at the 14 hour Technicolor Dream (a huge music and art festival) along with original guitarist, singer, songwriter Syd Barrett. If you like historical documentaries, give this one a try.

10wwe3

A good find for Pink Floyd fans

If you in no way enjoy Pink Floyd music, then do not buy/rent/steal this video. You will not like it.

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.

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.

Muswellmedia

less than the sum of its parts

Director Peter Whitehead was something of a one man band as a film maker making news items and what we now call pop promos. So what we get here is a number of the kind of films he was producing at the time joined together, collage like, rather than a rounded supposedly complete vision. But hey thats what it was like, there was no simple straight line narrative knitting it all together. Personally I think this makes it more honest and valuable as a document of the time and the reason why TV programmes are still using this material to illustrate programmes about the period.

My favourite moment features the Stones playing the Royal Albert Hall and whipping the audience up into a rioting mob that flood the stage with Brian Jones laughing his head off at the chaos. Also Lee Marvin and Michael Caine define cool while Vanessa Redgrave sings out of tune.

10slabihoud

Swinging London in a nutshell

Encapsulated in 67 minutes of blown-up 16mm color film is Swinging London at its best! Everything is there: the music, the protests, the stars, the fashion, the artists. Presented in the style of the sixties, odd camera movements, psychedelic color effects and complicated montages of stock footage combined with new material. Organised in chapters, we see some interviews of then and sometimes still famous people talking about what is going on in their lives and in London particularly.

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.

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Storyline

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Did you know

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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.

Quotes
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.