Live versions of the songs, filmed in an old Pompeii amphitheater. Songs included are Echoes (split into 2 parts), Careful with that axe, Eugene, A saucerful of secrets, One of those days, ... See full summary »
Longer than a music video, shorter than a feature film, this is essentially a short film version of Pink Floyd's album "The Final Cut". As such, the visual material is much the same as a ... See full summary »
Rock star Pink Floyd is a tortured soul. Because of his childhood, he has always tried to make meaningful emotional connections to other living creatures. That childhood includes not having a male role model with his father having been killed in the war, his overprotective mother smothering him, and an oppressive school system quashing his natural creativity. Being a rock star, he is often wanted more because of what he is than who he is. The most recent failure in that true connection to someone or something else is his marriage, when on tour, he discovers that his wife back home is cheating on him. His response is to go in the opposite direction, by building a figurative wall around him to isolate himself from the rest of the world, but not before showing graphically his feelings on different gut levels. The question becomes if he or anyone else can do anything to tear down the wall in a meaningful way.Written by
Scenes for the song "Hey You" were filmed, showing British police in riot gear facing off against a mob. During editing, Roger Waters and Alan Parker watched a rough cut of what they had filmed thus far. As they watched, they felt the film becoming more and more depressing, and on the spur of the moment decided that "Hey You" would be cut, both to lighten the tone, and because it was running too long, in addition to its duplicating shots already used in other songs. The cut material was thought to be lost for some time, until a workprint (a rough cut used to build the edit before the original negatives are cut to match) was found to contain the "Hey You" segment, although only in black and white, heavily spliced, and with the editor's markings all over the film. In the DVD commentary, Roger Waters and Alan Parker explain that most of the footage from "Hey You" still exists in the original negatives because it was used in various scenes throughout the rest of the movie, as do several other out-takes and deleted shots (including one of Pink in the soldiers' hospital throwing things at the walls and windows, and some animated shots from "The Wall" show). In addition, at least one shot from "Hey You" that does not appear elsewhere in the film was used in the original theatrical trailer. See more »
Several obvious mirror shots during the Fascist rally scenes: the crossing-hammer armbands switching arms, left-handed handshakes, the strap worn on Pink's shoulder when walking down the hallway switching shouders, the same neo-Nazi member appearing to be standing on both ends of the row of neo-Nazis while they are chanting "waiting" during the "Waiting for the Worms" sequence. See more »
So ya, thought ya might like to, go to the show. To feel the warm thrill of confusing that space cadet glow. Tell me is something eluding you sunshine? Is this not what you expected to see? If you wanna find out what's behind these cold eyes, you'll just have to claw your way through this disguise!
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The final shot in the "Another Brick In The Wall, part 2" sequence, showing Young Pink and the Islington Green School class of 1951 throwing the Teacher into the bonfire, was deleted from the UK theatrical and Canadian VHS versions of the film, out of concern that actual children would try the stunt at home. See more »
Roger Waters has weaved a compelling visual of the journey of a disturbed and misled mind. Though the viewer is sometimes left to sort out obscure animations and confusing images, it is not without direction. Subsequent viewings of this film reveal substance that only a genius could imbue in his writing. Character development through such subtle action in places casts a light upon Roger Waters as a person who understands the frailty of the human mind. The main character, Pink, portrays angles of the human condition we all face at some point by embodying a victimized character: sick over the loss of his father to the war; negatively spotlighted at school for talents that are apparently unfavorable at the time; unable or just unwilling to relate to his wife; and ultimately shut off from effectively relating to others because of an inability to express himself in ways that others understand.
Not only is the story captivating, but the music is such that it will always be noted as not only ahead of its time, but timeless.
The Wall is a masterpiece of storytelling, but not in the traditional sense. One must not watch this film expecting everything on a silver platter. Symbolism and metaphors abound, leaving a great deal of interpretation and adaptation to the viewer. Sit with an open mind and let Waters' character help you read into yourself.
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