krankor-4 Unusually choppy, with a lot of complicated set-ups featuring one or two lines of dialogue. The most memorable scene was towards the end during the couple's 15th or 16th argument while a black cat follows them along a street and observes them with admirable forbearance. The trooper stays with the shot all the way to the end. Pink Floyd and Néstor Almendros reputation's are not dependent on this movie. Left me with a big and a small mystery: What was Wolf's business and what was going on with Charlie's hair acting as sideburns?

Robert J. Maxwell I didn't find it as terrible as some people. It's really a chronicle of the times (1967). Klaus Grünberg is an innocent young German lad who meets the American girl Mimsy Farmer at a party in Paris. The chief reason they're there is so that Grünberg's good friend, Michel Chanderli, can sneak into the bedroom where all the coats have been flung and go through the pockets looking for money. That's how poor the two of them are.But, having met Farmer, Grünberg is struck with her and pursues her to the paradisiacal island of Ibiza, where he finds her somehow mixed up with a vaguely genial Landsmann named Wolf. The sun is blazing, the buildings are white, the scenery magnificent, and the descent into the maelstrom begins. First she introduces him to "pot." He kind of likes it. Grünberg and Farmer sneak away from the town and from Wolf, and relocate to a mountaintop retreat where she reluctantly involves him in "horse" -- that is heroin -- showing him how to cook it and how to hold the tie with his teeth. She doesn't tempt him and in fact tries to discourage his use but before you know it they're both addicted and have stolen from Wolf and begged on the streets for more.Winter descends, the weather turns cold and bleak, the tourists depart and take their gaiety with them. We last see Farmer squirming around on the floor and screaming for a fix, and Grünberg OD's in a dark hallway and his body is sniffed out by a dog.It's a sad tale, rather like "The Panic in Needle Park", in which a user sadly watches his amour become hooked, except that in this case the addiction is unintended by both parties. You really DO get addicted too, because of something called the opponent process theory. Your body has a number of built-in receptors for naturally produced "happy" substances. If you begin using opiates, what happens is that your body adjusts to the new inputs, and develops still more "happy" receptors, so you need more heroin just to remain normal, never mind high.I didn't find either of the principles unlikable, but rather tragic because of their flaws. Grünberg isn't receptive to good advice, either from his friend Chanderli or from Farmer. He turns possessive because of his love for Farmer and slaps her around. She, in turn, loves him but she disappears mysteriously from time to time and seems to have nothing constructive in mind for the future. Both may be bad, in their own ways, but neither is evil. At the same time, there's barely any plot. I have no idea what the writers had in mind besides the exploitation of a prominent culture movement of the period.It's a thought-provoking movie too. The thought it provokes is, "They're living in this whitewashed Taj Mahal overlooking the Mediterranean and neither has a job worth mentioning. So where the hell is the money coming from?" That's the thought it provokes. I'd love to know the answer because Ibiza looks pretty tempting, regardless of the season.

you'llneverbe 17/02/09 "More" (1969) Dir: Barbet Schroeder For a film that most viewers have agreed is pretty average, I'm impressed by quite how many differing interpretations have been offered of it. I've only scoured the web quite briefly and I've already been informed that "More" is: a 19th Century-style romance, an allusion to the story of Icarus, a plain film full of dull people, and of interest only to Pink Floyd completists. It's fair to say, then, that critical reception is mixed. I would argue that these wildly disparate readings of Barbet Schroeder's 1969 directorial debut are proof enough that "More" is anything but a pretty average film.Neither is it a masterpiece, of course. I approached "More" as I did "Easy Rider" and Antonioni's "Blowup" - as a 'time-capsule' film, a snapshot of an era - despite the differences in pace, style and content between these movies. They all have similar flaws - either vague or downright unlikeable characters, acting that seems slightly adrift from reality, relaxed editing, and abrupt endings that have left viewers indignant. These movies never try to be persuasive or meet the audience half way - they are what they are, man. This in itself is not a problem as long as we are left with a souvenir of the experience. Thankfully, "More" offers several truly memorable images, sounds and suggestions to the viewer, and this is what saves it.Stefan is a young man who arrives in Paris fresh from his studies in Germany. The first part of the film follows him as he falls in with a group of French hipsters, accompanies them to devastatingly cool and self-conscious parties and bars before meeting Estelle. The two characters become sexually and romantically involved and he promises to follow her to Ibiza, against the advice of his friend Charlie. This is where the Icarus thing comes into play - she is the Sun, he is pursuing her. You may now be able to guess how this all ends.Ibiza is an idyll so far away from the bustling urgency of the over-populated Paris that the naive Stefan knows he must be on to a good thing. Estelle remains elusive and erratic, and the island has a less desirable underbelly. Up until now I had cared little for either of these characters and their unfocused pursuit of somewhere to be really free, but once the action is pared down to just these two the film becomes poignant quite suddenly. During just one single wistful exchange of dialogue in the remote villa they inhabit, the place where their volatile love crystallises, I went from watching with a fading optimism to being utterly enraptured. I can't think of many other films that have done this.The relationship between Stefan and Estelle is real and human in that we can see it go from life-defining intimacy to disillusionment and cruel coldness. They take a lot of drugs and cavort naked on the terraces, the rocks and beaches. Their lives revolve around nothing but each other and the beautiful Mediterranean surroundings. For a while, their situation is the very essence of freedom, emotional openness and experience for its own sake. But Stefan is not in control, and this is the downfall of more than just his future on Ibiza.Pink Floyd's score is a perfect fit for the exoticism, the intimacy, and the foreboding of "More". It is one of the most memorable inclusions, along with the mosquito netting around Estelle's bed, and their hallucinogenic exuberance around the windmill (which appears on the soundtrack album's front cover). A scene in which they take acid to escape from heroin withdrawal is illustrative of the fundamental flaws of the couple - they cannot 'land' without a crash. Maybe they've come too close to what they wanted.Stefan never makes contact with any family or friends from before his arrival in Paris. We are left to presume they have no idea where he is. While other 1960s Counterculture movies dwell on debauchery, excess, the media and voyeurism, Schroeder has instead presented us with a story focused upon one man, who backs himself into a little corner somewhere in the world and quietly disappears.

r_eckert13 if you get the slight enjoyment out of pink Floyd's music you will love this movie. the score is completely pink Floyd and of course the drug element plays a major part in this movie giving you the doubts about life within the weakest moments. this movie also touches the heart with the story about love and the people around you ... there is also a huge connection with the world around you with the environment of a personal island.this thing tell me i need ten lines to sum up a movie but i am done that is all you get that is why this movie is a 6.1 which is a major upset to any movie with a score like this. take a look at requiem for a dream and the fountain .... equally good scores for our generation but overestimated