Alan Parker’s movie ended up being centered on Pink Floyd’s effective stone record of 1979. The cultish, downbeat re-imagining of this Pink Floyd record album, a musical “free form movie” masterpiece – was an extraordinary lineage into madness and insanity through a number of rambling music movie sections by burned-out and depressed stone singer Pink (Bob Geldorf) in a l . a . college accommodation. He had been mostly mindlessly watching television – he’d built a real and metaphorical protective wall surface around himself following the loss of his daddy while he experienced flashbacks of their life and attemptedto tear the wall down.
It contained about a quarter-hour of governmental cartoonist/illustrator Gerald Scarfe’s adult-themed animated sections with symbolic, sexually-explicit, botanical Freudian symbolism that introduced a misogynistic woman-as-destroyer/devourer motif); into the passionate “flowers” scene prior to the stone song “Empty Spaces,” two plants, one shaped just like a male organ together with other like a lady organ — morphed into a few having sex and then involved with a bloody fight as soon as the female flower unveiled razor- razor- sharp teeth and devoured a man. Continue reading Alan Parker’s movie had been predicated on Pink Floyd’s effective stone record of 1979.