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Alan Parker’s movie had been predicated on Pink Floyd’s effective stone record of 1979.

Alan Parker’s movie had been predicated on Pink Floyd’s effective stone record of 1979.

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.