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Overview

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Director:
Writers:
Paul Gégauff (screenplay) and
Barbet Schroeder (screenplay) ...
(more)
Contact:
View company contact information for More on IMDbPro.
Release Date:
21 October 1969 (France) See more »
Genre:
Tagline:
When two people love, one always loves more.
Plot:
In the late 60's, after graduating in Mathematics, the German Stefan Brückner hitchhikes from Lübeck to Paris to see the world without money... See more » | Add synopsis »
Plot Keywords:
User Reviews:
Like a dull headache. See more (29 total) »

Cast

  (in credits order)

Mimsy Farmer ... Estelle Miller
Klaus Grünberg ... Stefan Brückner
Heinz Engelmann ... Dr. Ernesto Wolf
Michel Chanderli ... Charlie
Henry Wolf ... Henry
Louise Wink ... Cathy
rest of cast listed alphabetically:
Georges Montant ... Seller (uncredited)

Directed by
Barbet Schroeder 
 
Writing credits
Paul Gégauff (screenplay) and
Barbet Schroeder (screenplay)

Paul Gégauff (dialogue) and
Barbet Schroeder (dialogue)

Barbet Schroeder (original story)

Mimsy Farmer (collaborator: final version of the dialogue) and
Eugene Archer (collaborator: final version of the dialogue) and
Paul Gardner (collaborator: final version of the dialogue)

Produced by
Pierre Cottrell .... associate producer
Charles Lachman .... executive producer (as Charles R. Lachman)
David Lewis .... executive producer (as David L. Lewis)
Barbet Schroeder .... producer
 
Original Music by
David Gilmour  (as Dave Gilmore)
Nick Mason 
Pink Floyd  (as The Pink Floyd)
Roger Waters 
Richard Wright  (as Rick Wright)
 
Cinematography by
Néstor Almendros 
 
Film Editing by
Denise de Casabianca 
Rita Roland 
 
Art Direction by
Néstor Almendros  (as Nestor Almendros)
Fran Lewis 
 
Sound Department
Jack Jullian .... sound
Robert Pouret .... sound
 
Camera and Electrical Department
Robert Bernard .... electrician
Olivier Bogard .... assistant camera
Lester Waldman .... still photographer
 
Editorial Department
Monique Giraudy .... assistant editor
Madeleine Grimberg .... second assistant editor
 
Other crew
Alfred de Graff .... second assistant to producer (as Alfred de Graaff)
Carlos Durán .... assistant to producer (as Carlos Duran)
Janine Evrad .... script (as Janine Euvrard)
Monique Giraudy .... script
Fred Junck .... second assistant to producer
 

Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
West Germany:117 min | USA:110 min
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Certification:
Company:

Did You Know?

Trivia:
The soundtrack was composed by Pink Floyd. The band was given £600 and complete ownership to all of the material for their work, and some of the songs on the album were still in their live set list by 1971. The band also scored the music for another Barbet Schroeder film, La vallée (1972) in 1972.See more »
Goofs:
Miscellaneous: David Gilmour's last name is misspelled "Gilmore" in the opening credits.See more »
Quotes:
Stefan Brückner:I wanted to burn all the bridges, all the formulas, and if I got burned that was okay too. I wanted to be warm. I wanted the sun, and I went after it.See more »
Movie Connections:

FAQ

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23 out of 41 people found the following review useful.
Like a dull headache., 16 April 2005
Author: Quag7 from Tucson, AZ

OK. Well, I guess it was worth my time sitting through this *once* but I won't be watching it again. There are several things about this film that irritated me.

First, man...I really hated the characters. I had the same problem with Sid and Nancy. I have a hard time rationalizing spending a fair chunk of time following characters who I really don't care about, and can't relate to. It's not that the actors or the writing were technically bad; it was that the characters were written in such a way that I just had contempt for them, and as the movie went on, I almost wanted to see the sky fall on them. And this leads me to the second problem, and a question which I think is at the heart of this movie: Was the intent to simply document this generation and these types of bohemians who were (I guess) wandering around Europe in the 60s? Was the intent to criticize and lambaste them? Or was this film some kind of a warning? My final assessment of the film (that is to say, in determining if there was anything salvageable here at all) hinges on this question.

Regardless, these characters are really unlikeable, and as a consequence, it's hard to really give a crap about the plot or what happens to them. If this was some sort of statement on this generation, then the film becomes a little more tolerable. It is clear that Schroeder is not some kind of geriatric establishment square, so the way he proceeds here carries more weight than, say, the countless stupid AIP films set in or concerning the 60s counterculture.

At bare minimum, this film has two things going for it - first, the soundtrack (obviously). I like how Cymbaline is used here and others have mentioned it too, as it takes the forefront in the movie. I am guessing that if you are a Pink Floyd fan and want to see it for that reason, nothing you read here is likely to stop you from watching it anyway (it wouldn't stop me either). The curiosity of hearing Pink Floyd in a movie may be enough to just barely get you through this.

Secondly, there is some nice scenery. Ibiza looks like a nice place to visit. Maybe I'm just sick of looking at Los Angeles, New York, and Chicago in films, but European films which take the time to actually show us Europe (the beautiful or the ugly - mostly beautiful here) are always welcome.

But I really see no particular genius here. No revolutionary camera work, not even a moral, tone, message, sensibility, or plot that has anything new to say. Perhaps what was revolutionary about this was merely that it came from a guy like Schroeder - a film critical of a mindset that at least in part made his movies marketable. To that extent it is an honest film; there's no glorification of the abject excesses of the 60s here, which is perhaps something you might expect. In fact, the portrayal of the characters in this film closely mirrors the (somewhat distorted, in my opinion) modern cultural memory of that generation.

Oh yeah, bunch of (yawn) nudity and sex here; nothing new if you watch these kinds of movies from this time period. I guess it was considered novel or provocative or something at the time. I don't find it offensive or titillating (I doubt you will either); rather it just extends the running time of an already tedious film. In its own way, this particular use of sexuality in movies of the time (especially European ones) has become a bit of a cliché. But I guess in hindsight you can't blame them; they were just in that decade able to "get away with it" and I suppose (I'm guessing here) the very presence of this kind of graphic sexuality was a political or social statement in and of itself (That being that sexuality was a part of life that this generation wasn't going to be all weird about like their parents were).

Should you watch it? If you're a Pink Floyd fan, sure...I guess it's worth a watch. In any case, The Valley is a better film. I went into this movie expecting largely what I got. If you don't normally watch these kinds of arty, avant garde films and don't know what to expect, this is bound to be annoying as hell. This is a normal, healthy reaction :)

If you're not a Pink Floyd fan, I'm not sure why you'd spend your time here. I noticed one fellow who left a comment did enjoy this movie quite a lot, so maybe I'm just missing something. I don't need guys running in slow motion from fireballs, special effects, explosions, or anything like that to enjoy a movie. But I do need some kind of handle - I need to find something to like about a movie, and generally I need to sympathize with some aspect of the characters' plight (barring that some novel film-making will work; camera-work and so forth). Here, there's just nothing to hold on to except for Pink Floyd's magnificence. Which is *just enough* to make this tolerable. At bare minimum, if you're a Pink Floyd fan to begin with, you'll like the bit with Cymbaline, I promise.

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