Nostalgia Critics Review of Pink Floyds the Wall

1982 moving-picture show directed by Alan Parker

Pink Floyd – The Wall
Theatrical release affiche
Directed by	Alan Parker Animation: Gerald Scarfe
Screenplay by	Roger Waters
Based on	The Wall past Pink Floyd
Produced by	Alan Marshall
Starring	Bob Geldof
Cinematography	Peter Biziou
Edited past	Gerry Hambling
Music by	Pink Floyd Bob Ezrin Michael Kamen
Product companies	Metro-Goldwyn-Mayer Tin Blue Productions Goldcrest Films International
Distributed by	United International Pictures[1]
Release dates	23 May 1982 (1982-05-23) (Cannes) 14 July 1982 (1982-07-14) (United Kingdom)
Running time	95 minutes[1]
Country	United kingdom of great britain and northern ireland
Language	English language
Budget	$12 meg[2]
Box office	$22.ii million[3]

Pinkish Floyd – The Wall is a 1982 British live-action/blithe psychological horror musical film directed past Alan Parker, based on the 1979 Pink Floyd anthology The Wall. The screenplay was written by Pink Floyd vocalist and bassist Roger Waters. The Boomtown Rats singer Bob Geldof plays rock star Pink, who, driven insane by the death of his father, constructs a physical and emotional wall to protect himself.

Like the anthology, the flick is highly metaphorical, and symbolic imagery and sound are present about usually. The film is mostly driven by music and features little dialogue from the characters. Despite its turbulent production and the creators voicing their discontent about the concluding production, the film received more often than not positive reviews and has an established cult post-obit.

Plot

Pink is a depressed rock star who, at the starting time of the film, appears motionless and expressionless while remembering his male parent. While Pink imagines a oversupply of fans inbound one of his concerts, only him receiving them in a fascist alter ego, a flashback reveals how his father was killed defending the Anzio beachhead during Globe War II, in Pink's infancy. The backwash of the battle is seen, and thus, Pink's mother raises him lone, which affects Pink's childhood. A young Pink later discovers relics from his father'due south armed services service and expiry. An blitheness depicts the war, showing that the death of the people was for nix. Pinkish places a bullet on the track of an oncoming train within a tunnel, and the train that passes has children peering out of the windows wearing face masks.

At school, he is caught writing poems in form and is humiliated past the instructor who reads a verse form from Pinkish's book. Withal, information technology is revealed that the bad treatment of the students is considering of the unhappiness of the teacher's marriage. Pink imagines an oppressive schoolhouse system in which children fall into a meat grinder. Pinkish and then fantasizes about the children ascent in rebellion and burning down the school, throwing the teacher onto a blaze. Every bit an adult at present, Pink remembers his overprotective female parent, and when he got married. After a phone call, Pink discovers that his wife is cheating on him, and another animation shows that every traumatic experience he has had is represented as a "brick" in the metaphorical wall he constructs around himself that divides him from all lodge.

Pinkish then comes back to the hotel room with a groupie, merely for her to annoy Pink to the betoken where he destroys the room in a fit of violence, scaring her away. Depressed, he thinks about his wife, and feels trapped in his room. He so remembers every "brick" of his wall. His wall shown to be consummate, and the flick returns to the offset scene.

Now within his wall, he does not exit his hotel room, and begins to lose his mind to metaphorical "worms". He shaves all his body hair, and watches television. A flashback shows immature Pink searching through trenches of the war, somewhen finding himself equally an developed. Young Pink runs in terror, and appears in a station, with the people demanding that the soldiers return home. Returning to the present, Pinkish'south manager finds him in his hotel room, drugged and unresponsive. A paramedic injects him to enable him to perform.

In this land, Pinkish dreams that he is a dictator and his concert is a fascist rally. His followers continue to attack people. He then holds a rally in suburban London, indicating his mind has taken over. The scene includes images of animated marching hammers that goose-step across ruins. Pink then stops hallucinating and screams "Finish!", deciding he no longer wants to exist in the wall. He is then seen cowering in a bathroom stall, silently singing to himself equally a security guard walks by him. In a climactic animated sequence, Pinkish, as a rag doll, is on trial for "showing feelings of an most human being nature", and his sentence is "to be exposed before his peers". His teacher and wife accuse him, while his mother tries to take him home. The judge gives the order to "tear down the wall!". Following a prolonged silence, the wall is smashed as Pink can be heard screaming. Pink is never seen once again afterwards this. Several children are seen cleaning up a pile of droppings, with a freeze-frame on one of the children elimination a Molotov cocktail, after which the film ends.

Cast

• Bob Geldof as Pink
  • Kevin McKeon every bit Immature Pink
  • David Bingham every bit Picayune Pink
• Christine Hargreaves as Pink'south mother
• Eleanor David equally Pink'south wife
• Alex McAvoy as Teacher
• Bob Hoskins equally Rock manager
• Michael Ensign as Hotel managing director
• James Laurenson as Pink's father
• Jenny Wright equally American groupie
• Margery Bricklayer as Teacher's wife
• Ellis Dale as English medico
• James Hazeldine as Lover
• Ray Mort as Playground father
• Robert Bridges as American doctor
• Joanne Whalley, Nell Campbell, Emma Longfellow, and Lorna Barton equally Groupies
• Philip Davis and Gary Olsen every bit Roadies

Production

Concept

In the mid-1970s, every bit Pink Floyd gained mainstream fame, songwriter Roger Waters began feeling increasingly alienated from their audiences:

Audiences at those vast concerts are at that place for an excitement which, I think, has to practice with the love of success. When a band or a person becomes an idol, it can have to exercise with the success that that person manifests, non the quality of piece of work he produces. You don't go a fanatic because somebody's work is good, you lot become a fanatic to exist touched vicariously by their glamour and fame. Stars—picture stars, rock 'due north' ringlet stars—represent, in myth anyway, the life equally we'd all like to live it. They seem at the very centre of life. And that's why audiences still spend big sums of money at concerts where they are a long, long way from the phase, where they are oftentimes very uncomfortable, and where the sound is often very bad.^[iv]

Waters was also dismayed by the "executive approach", which was but nearly success, not even attempting to go acquainted with the bodily persons of whom the band was composed (addressed in an earlier song from Wish You Were Here, "Have a Cigar"). The concept of the wall, forth with the decision to name the lead grapheme "Pinkish", partly grew out of that arroyo, combined with the upshot of the growing alienation between the band and their fans.^[5] This symbolised a new era for stone bands, as Pink Floyd explored "the hard realities of 'beingness where we are'", echoing ideas of alienation described by existentialists such equally Jean-Paul Sartre.^[6]

Evolution

The animation segments, including the "marching hammers", were blithe past Gerald Scarfe

Even before the original Pink Floyd album was recorded, the intention was to make a film from it.^[7] The original plan was for the picture show to be live footage from the album's tour, together with Scarfe'southward animation and extra scenes,^[viii] and for Waters himself to star.^[8] EMI did non intend to brand the motion-picture show, as they did not understand the concept.^[nine]

Director Alan Parker, a Pink Floyd fan, asked EMI whether The Wall could be adapted to film. EMI suggested that Parker talk to Waters, who had asked Parker to direct the film. Parker instead suggested that he produce it and give the directing task to Gerald Scarfe and Michael Seresin, a cinematographer.^[x] Waters began work on the flick's screenplay afterwards studying scriptwriting books. He and Scarfe produced a special-edition book containing the screenplay and art to pitch the project to investors. While the book depicted Waters in the part of Pink, after screen tests, he was removed from the starring role^[xi] and replaced with new wave musician and frontman of the Boomtown Rats, Bob Geldof.^[8] In Behind the Wall, both Waters and Geldof later admitted to a story during casting where Geldof and his manager took a taxi to an airport, and Geldof'southward managing director pitched the function to the singer, who continued to reject the offer and express his antipathy for the projection throughout the fare, unaware that the taxi commuter was Waters' blood brother, who told Waters nearly Geldof'south opinion.

Since Waters was no longer in the starring role, it no longer made sense for the feature to include Pinkish Floyd footage, so the live motion-picture show aspect was dropped.^[12] The footage culled from the five Wall concerts at Earl's Court from 13–17 June 1981 that were held specifically for filming was deemed unusable also for technical reasons as the fast Panavision lenses needed for the depression light levels turned out to accept bereft resolution for the pic screen. Complex parts such equally "Hey You" still had not been properly shot past the stop of the live shows.^[13] Parker convinced Waters and Scarfe that the concert footage was besides theatrical and that information technology would jar with the animation and phase alive activity. Later on the concert footage was dropped, Seresin left the project and Parker became sole manager.^[14]

Filming

Parker, Waters and Scarfe frequently clashed during production, and Parker described the filming as "one of the most miserable experiences of my creative life."^[xv] Scarfe declared that he would bulldoze to Pinewood Studios carrying a bottle of Jack Daniel'south, because "I had to take a slug before I went in the morning, because I knew what was coming up, and I knew I had to fortify myself in some mode."^[sixteen] Waters said that filming was "a very unnerving and unpleasant experience".^[17]

During production, while filming the destruction of a hotel room, Geldof suffered a cutting to his paw as he pulled away the Venetian blinds. The footage remains in the pic. It was discovered while filming the puddle scenes that Geldof did non know how to swim. Interiors were shot at Pinewood Studios, and it was suggested that they append Geldof in Christopher Reeve's clear cast used for the Superman flying sequences, but his frame was too modest past comparison; information technology was then decided to make a smaller rig that was a more than acceptable fit, and he lay on his dorsum.^[18] In Nicholas Schaffner's book Saucerful of Secrets: The Pink Floyd Odyssey (1991) it is claimed that the trunk bandage from the film Supergirl (1984) was actually used instead.^[19]

The state of war scenes were shot on Saunton Sands in Northward Devon, which was also featured on the cover of Pinkish Floyd's A Momentary Lapse of Reason half-dozen years later.^[20]

Release

The motion-picture show was shown out of competition during the 1982 Cannes Movie Festival.^[21]

The premiere at Cannes was amazing – the midnight screening. They took downwards two truckloads of audio equipment from the recording studios so information technology would sound better than normal. It was one of the last films to be shown in the old Palais which was pretty run down and the sound was so loud information technology peeled the pigment off the walls. It was like snowfall – it all started to shower down and everyone had dandruff at the end. I remember seeing Terry Semel at that place, who at the fourth dimension was head of Warner Bros., sitting adjacent to Steven Spielberg. They were only 5 rows ahead of me and I'thousand sure I saw Steven Spielberg mouthing to him at the end when the lights came upwards, 'what the fuck was that?' And Semel turned to me and then bowed respectfully.

'What the fuck was that?,' indeed. It was like nothing anyone had ever seen earlier – a weird fusion of alive-action, story-telling and of the surreal.

Alan Parker^[22]

The motion-picture show's official premiere was at the Empire, Leicester Square^[23] in London, on fourteen July 1982. It was attended by Waters and boyfriend Pinkish Floyd members David Gilmour and Nick Stonemason, merely not Richard Wright,^[23] who was no longer a member of the ring. Information technology was also attended by various celebrities including Geldof, Scarfe, Paula Yates, Pete Townshend, Sting, Roger Taylor, James Hunt, Lulu and Andy Summers.^[24]

Box part and critical reception

So it's difficult, painful and despairing, and its three most of import artists came away from information technology with bad feelings. Why would anybody want to see it? Perhaps considering filming this material could not possibly take been a happy experience for anyone—not if information technology's taken seriously.

Roger Ebert^[25]

The Wall opened with a limited release on 6 August 1982 and entered at No. 28 of the US box office charts despite only playing in one theatre on its starting time weekend, grossing over $68,000, a rare feat fifty-fifty past today's standards. The film and so spent just over a calendar month below the top 20 while still in the summit xxx. The picture later expanded to over 600 theatres on x September, achieving No. 3 at the box function charts, beneath E.T. the Extra-Terrestrial, and An Officer and a Gentleman. The motion-picture show eventually earned $22 meg before closing in early 1983.^[iii]

The moving picture received generally positive reviews. Review aggregator website Rotten Tomatoes gives the film the approval rating of 71% based on 28 critic reviews, with the average score of seven.iii out of x. The disquisitional consensus reads "Pink Floyd's expression of generational angst is given striking visual form The Wall, although this ambitious feature'south narrative struggles to marry its provocative images and psychedelic soundtrack into a compelling whole."^[26]

On Metacritic, the film holds the weighted average score of 47 out of 100 based on 13 critic reviews, indicating "mixed or average reviews".

Reviewing The Wall on their television programme At the Movies in 1982, picture show critics Roger Ebert and Cistron Siskel gave the moving picture "two thumbs up". Ebert described The Wall as "a stunning vision of self-destruction" and "one of the most horrifying musicals of all time ... simply the moving-picture show is effective. The music is strong and truthful, the images are like sledge hammers, and for in one case, the stone and roll hero isn't but a spoiled narcissist, but a existent, suffering image of all the despair of this nuclear age. This is a real skilful picture." Siskel was more reserved in his judgement, stating that he felt that the flick'south imagery was too repetitive. Nevertheless, he admitted that the "central image" of the fascist rally sequence "will stay with me for an awful long time." In February 2010, Ebert added The Wall to his Great Movies list, describing the film equally "without question the best of all serious fiction films devoted to rock. Seeing it now in more timid times, it looks more daring than it did in 1982, when I saw it at Cannes ... It's disquieting and depressing and very good."^[25] It was chosen for the opening night of Ebertfest 2010.

Danny Peary wrote that the "picture show is unrelentingly downbeat and at times repulsive ... but I don't find it unwatchable – which is more than I could say if Ken Russell had directed this. The cinematography past Peter Biziou is extremely impressive and a few of the private scenes have undeniable power."^[27] Information technology earned two British University Awards: Best Sound for James Guthrie, Eddy Joseph, Clive Winter, Graham Hartstone and Nicholas Le Messurier,^[28] and Best Original Song for Waters.^[28]

Waters said of the motion-picture show: "I found information technology was so unremitting in its onslaught upon the senses, that it didn't give me, anyway, as an audience, a chance to go involved with information technology," although he had nix just praise for Geldof'south performance.^[17] Gilmour stated (on the "In the Studio with Redbeard" episodes of The Wall, A Momentary Lapse of Reason and On an Isle) that the conflict between him and Waters started with the making of the film. Gilmour also stated on the documentary Behind The Wall (which was aired on the BBC in the UK and VH1 in the US) that "the motion picture was the less successful telling of The Wall story as opposed to the album and concert versions."

Although the symbol of the crossed hammers used in the film was non related to any real group, it was adopted past white supremacist group the Hammerskins in the tardily 1980s.^[29]

Themes and assay

It has been suggested^{[ by whom? ]} that the protagonist stands for Waters. Beyond the obvious parallel of them both existence rock stars, Waters lost his male parent while he was an baby and had marital problems, divorcing several times.^[30] It has also been suggested that Pink represents former lead singer, writer and founding member Syd Barrett, both in his appearance also every bit in several incidents and anecdotes related to Barrett'due south descent from pop stardom due to his struggles with mental illness and cocky-medicating with drugs. I seemingly breathy reference is Pinkish'due south detachment from the earth as he locks himself abroad in his room before a show and shaves himself down while suffering a mental break. During a mental breakup, Barrett shaved his caput and face earlier showing up to a band rehearsal (afterwards already having been removed from the band). Withal, Bob Geldof, who plays Pink in the film, refused to shave his head for this role of the performance.

Another influence was the failing state of pianist, Richard Wright, who was allegedly struggling with cocaine addiction at the time. This is referenced in the vocal Nobody Home: Got a g piano to prop up my mortal remains.^[31]

Romero and Cabo identify the Nazism and imperialism related symbols in the context of Margaret Thatcher'south government and British foreign policy especially concerning the Falklands outcome.^[32]

"In that location'due south a scene in the picture of The Wall where the guy smashes up a hotel room and tries to put information technology together," remarked Trent Reznor, explaining the theme of Nine Inch Nails' The Fragile. "As he tries, it'due south evidently not correct, but he's trying to make semblance [sic] of things. That's a visual that I've used in my head. It's helped me."^[33]

Awards

List of awards
Honor	Category	Recipient(s)	Issue
BAFTA Awards[28]	Best Original Song	Roger Waters, for the song "Some other Brick in the Wall"	Won
	Best Audio	James Guthrie, Eddy Joseph, Clive Winter, Graham V. Hartstone, Nicolas Le Messurier	Won

Documentary

A documentary was produced about the making of Pink Floyd – The Wall entitled The Other Side of the Wall that includes interviews with Parker, Scarfe, and clips of Waters; it originally aired on MTV in 1982. A second documentary about the moving picture was produced in 1999 entitled Retrospective: Looking Back at The Wall that includes interviews with Waters, Parker, Scarfe, and other members of the film'due south production squad. Both are featured on The Wall DVD as extras.

Soundtrack

Pink Floyd – The Wall
Soundtrack album by Pink Floyd
Released	Unreleased
Recorded	1981–1982
Genre	Progressive rock
Pink Floyd soundtracks chronology
Obscured by Clouds (1972) Pink Floyd – The Wall (Unreleased) La Carrera Panamericana (1992)
Singles from Pink Floyd – The Wall
"When the Tigers Broke Costless" Released: 26 July 1982

The film soundtrack contains most songs from the anthology, albeit with several changes, besides as boosted material (see table below).

The but songs from the album non used in the picture show are "Hey You lot" and "The Show Must Become On". "Hey You" was deleted every bit Waters and Parker felt the footage was too repetitive (eighty percent of the footage appears in montage sequences elsewhere)^[15] just a workprint version of the scene is included equally a bonus feature on the DVD release.^[34]

A soundtrack album from Columbia Records was listed in the flick's end credits, but only a unmarried containing "When the Tigers Broke Complimentary" and the rerecorded "Bring the Boys Dorsum Home" were released. "When the Tigers Broke Free" subsequently became a bonus rail on the 1983 anthology The Final Cutting. Guitarist David Gilmour dismissed the anthology equally a collection of songs that had been rejected for The Wall project, but were beingness recycled. The vocal, in the edit used for the single, also appears on the 2001 compilation album Echoes: The All-time of Pink Floyd.

Changes on the soundtrack album:

Vocal	Changes
"When the Tigers Broke Free" i	New song, edited into two sections strictly for the film, only later released equally i continuous vocal.[35] The song was released as a single in 1982 and was later included on the 2001 compilation Echoes: The Best of Pink Floyd and on the 2004 re-release of The Final Cut.
"In the Mankind?"	Extended/re-mixed/pb vocal re-recorded by Geldof.[35]
"The Thin Water ice"	Extended/re-mixed[35] with boosted piano overdub in second verse, infant sounds removed.
"Some other Brick in the Wall, Part ane"	Extra bass parts, which were muted on the album mix, can be heard.
"When the Tigers Broke Free" two	New vocal.[35]
"Good day Bluish Heaven"	Re-mixed.[35]
"The Happiest Days of Our Lives"	Re-mixed. Helicopter sounds dropped, teacher's lines re-recorded by Alex McAvoy.[35]
"Some other Brick in the Wall, Part 2"	Re-mixed[35] with extra lead guitar, children's chorus edited and shortened, teacher's lines re-recorded by McAvoy and interspersed within lines of children'due south chorus.
"Female parent"	Re-recorded completely with exception of guitar solo and its backing track. The lyric "Is information technology but a waste of time?" is replaced with "Female parent, am I really dying?", which is what appeared on the original LP lyric canvass.[35]
"What Shall Nosotros Do At present?"	A full-length vocal which begins with the music of, and a similar lyric to, "Empty Spaces". This was intended to be on the original album, and in fact appears on the original LP lyric sheet. At the last minute, information technology was dropped in favour of the shorter "Empty Spaces" (which was originally intended as a reprise of "What Shall We Practice Now?"). A live version is on the anthology Is There Anybody Out There? The Wall Live 1980–81.[35]
"Young Animalism"	Screams added and phone call removed. The telephone call was moved to the first of "What Shall We Exercise Now?".
"One of My Turns"	Re-mixed. Groupie'south lines re-recorded by Jenny Wright.
"Don't Go out Me Now"	Shortened and remixed.
"Some other Brick in the Wall, Office three"	Re-recorded completely[35] with a slightly faster tempo.
"Farewell Cruel World"	Unchanged.
"Is There Anybody Out There?"	Classical guitar re-recorded, this time played with a leather pick by guitarist Tim Renwick,[36] as opposed to the album version, which was played finger-style by Joe DiBlasi.
"Nobody Home"	Musically unchanged, but with different clips from the Goggle box fix.
"Vera"	Unchanged.
"Bring the Boys Dorsum Dwelling"	Re-recorded completely with brass band and Welsh male song choir extended and without Waters' lead vocals.[23]
"Comfortably Numb"	Re-mixed with Geldof's screams added. Bass line partially dissimilar from album.
"In the Flesh"	Re-recorded completely with brass ring and Geldof on atomic number 82 vocals.[35]
"Run Like Hell"	Re-mixed and shortened.
"Waiting for the Worms"	Shortened but with extended coda.
"5:11 AM (The Moment of Clarity)"/"Your Possible Pasts"/"Stop"	"Stop" re-recorded completely[35] with Geldof unaccompanied on vocals. The first two songs are taken from The Pros and Cons of Hitch Hiking, a concept album Waters wrote simultaneously with The Wall, and afterwards recorded solo; and The Final Cut, a 1983 Pinkish Floyd anthology. "Your Possible Pasts" was a song originally intended for The Wall that afterwards appeared on The Final Cut.
"The Trial"	Re-mixed with longer instrumental intro, and audience cheering sounds added.
"Exterior the Wall"	Re-recorded completely[35] with brass band and Welsh male voice choir. Extended with a musical passage similar to "Southampton Dock" from The Last Cutting.[37] [38]

In addition to the above, Vera Lynn'southward rendition of "The Footling Boy That Santa Claus Forgot" was used equally background music during the opening scenes.^{[39] [40]}

Chart positions

Year	Chart	Position
2005	Australian ARIA DVD Nautical chart	#10

Certifications

References

1. ^ ^{a b} "PINK FLOYD - THE WALL (AA)". British Board of Film Nomenclature. 23 June 1982. Archived from the original on 5 March 2016. Retrieved 16 August 2015.
2. ^ BRITISH PRODUCTION 1981 Moses, Antoinette. Sight and Sound; London Vol. 51, Iss. 4, (Fall 1982): 258.
3. ^ ^{a b} Box Role Information for Pink Floyd – The Wall. Archived ix Dec 2020 at the Wayback Machine Box Office Mojo. Retrieved 1 January 2014.
4. ^ Curtis, James M. (1987). Stone Eras: Interpretations of Music and Society, 1954–1984. Popular Press. p. 283. ISBN0-87972-369-6. Archived from the original on xxx April 2016. Retrieved 27 February 2016.
5. ^ Reisch, George A. (2007). Pink Floyd and Philosophy: Careful With That Axiom, Eugene!. Open up Courtroom Publishing Company. pp. 76–77. ISBN978-0-8126-9636-3. Archived from the original on ane January 2014. Retrieved ten July 2013.
6. ^ Reisch, George A. (2009). Radiohead and philosophy. Open up Court Publishing Visitor. p. threescore. ISBN978-0-8126-9700-1. Archived from the original on one Jan 2014. Retrieved 10 July 2013.
7. ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 225.
8. ^ ^{a b c} J.C. Maçek Iii (5 September 2012). "The Cinematic Feel of Roger Waters' 'The Wall Live'". PopMatters. Archived from the original on 11 November 2020. Retrieved 29 Nov 2020.
9. ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 244.
10. ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. pp. 244–245.
11. ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. pp. 245–246.
12. ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 246.
13. ^ Pink Floyd'due south The Wall, page 83
14. ^ Pink Floyd'south The Wall, page 105
15. ^ ^{a b} Pinkish Floyd's The Wall, folio 118
16. ^ "Interview: Gerald Scarfe". Floydian Slip. 5–seven November 2010. Archived from the original on xvi July 2016. Retrieved 22 June 2016.
17. ^ ^{a b} Pink Floyd'south The Wall, page 129
18. ^ Geldof, Bob. Is That It?. Weidenfeld & Nicolson.
19. ^ Schaffner, Nicholas (1991). Saucerful of Secrets: The Pink Floyd Odyssey. Harmony Books. ISBN0-517-57608-2.
20. ^ Storm Thorgerson and Peter Curzon. Listen Over Thing: The Images of Pink Floyd. folio 102. ISBN ane-86074-206-8.
21. ^ "Festival de Cannes – From 16 to 27 may 2012". Festival-cannes.com. Archived from the original on 19 January 2012. Retrieved seven January 2012.
22. ^ Scarfe, Gerald. The Making of Pinkish Floyd: The Wall. Da Capo Press. p. 216.
23. ^ ^{a b c} Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Omnibus. ISBN978-1-84938-370-seven.
24. ^ Miles, Barry; Mabbett, Andy (1994). Pink Floyd: the Visual Documentary ([Updated ed.] ed.). London: Omnibus Press. ISBN0-7119-4109-2.
25. ^ ^{a b} Ebert, Roger (24 February 2010). "Pink Floyd: The Wall (1982)". RogerEbert.com. Archived from the original on 13 Nov 2020. Retrieved fourteen Apr 2021.
26. ^ "Pink Floyd - The Wall (1982)". Rotten Tomatoes. Archived from the original on nine Jan 2021. Retrieved 31 March 2022.
27. ^ Danny Peary, Guide for the Film Fanatic (Simon & Schuster, 1986) p.331
28. ^ ^{a b c} "By Winners and Nominees – Film – Awards". BAFTA. Archived from the original on 15 October 2017. Retrieved 26 December 2010.
29. ^ "The Hammerskin Nation". Extremism in America. Anti-Defamation League. 2002. Archived from the original on xviii August 2004.
30. ^ Gannon, Louise (17 April 2011). "Roger Waters: Another scissure in the wall | The Sunday Times". The Sun Times. Archived from the original on 25 June 2018. Retrieved 25 December 2015.
31. ^ Schaffner, Nicholas (2005). "Pigs on the Wing". Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 219. ISBNane-905139-09-8.
32. ^ Romero, Jorge Sacido; Cabo, Luis Miguel Varela (December 2006). "Roger Waters' Poetry of the Absent Male parent: British Identity in Pink Floyd'south "The Wall"". Atlantis. 28 (ii): 45–58. JSTOR 41055246.
33. ^ Elliott, Paul (25 September 1999). "Going Down…". Kerrang!. p. 17.
34. ^ Pink Floyd's The Wall, folio 128
35. ^ ^{a b c d east f g h i j g l m} Demote, Jeff (2004). Pink Floyd's The Wall. Richmond, Surrey, United kingdom: Reynolds and Hearn. pp. 107–110p. ISBNone-903111-82-X.
36. ^ Marty Yawnick (28 June 2016). "Is In that location Everyone Out There? - Hear David Gilmour's version". The Wall Complete. Archived from the original on 21 June 2017. Retrieved 5 July 2017.
37. ^ Pink Floyd: The Wall (1980 Pinkish Floyd Music Publishers Ltd., London, England, ISBN 0-7119-1031-6 [USA ISBN 0-8256-1076-1])
38. ^ Pinkish Floyd: The Final Cut (1983 Pink Floyd Music Publishers Ltd., London, England.)
39. ^ Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Coach. pp. 150p. ISBN0-7119-4301-X.
40. ^ Gonthier, Jr., David F.; O'Brien, Timothy Thousand. (2015). The Films of Alan Parker, 1976–2003. Jefferson, Northward Carolina: McFarland & Co. p. 106. ISBN978-0786497256.
41. ^ "ARIA Charts – Accreditations – 2014 DVDs" (PDF). Australian Recording Industry Association. Retrieved 4 August 2021.
42. ^ "Brazilian video certifications – Pink Floyd – The Wall" (in Portuguese). Pro-Música Brasil. Retrieved iv August 2021.
43. ^ "French video certifications – Pink Floyd – The Wall" (in French). Syndicat National de l'Édition Phonographique. Retrieved four Baronial 2021.
44. ^ "Gold-/Platin-Datenbank (Pink Floyd;'The Wall')" (in German). Bundesverband Musikindustrie. Retrieved 4 August 2021.
45. ^ "Le Cifre Di Vendita 2006 – DVD" (PDF) (in Italian). Federazione Industria Musicale Italiana. Archived from the original (PDF) on 6 January 2014. Retrieved 4 August 2021.
46. ^ "Wyróżnienia – Platynowe płyty DVD - Archiwum - Przyznane w 2004 roku" (in Polish). Polish Society of the Phonographic Manufacture. Retrieved iv August 2021.
47. ^ "Veckolista DVD Anthology – Vecka 35, 2013" (in Swedish). Sverigetopplistan. Archived from the original on 4 August 2021. Retrieved 4 August 2021.
48. ^ "British video certifications – Pinkish Floyd – The Wall". British Phonographic Industry. Retrieved four Baronial 2021.

External links

• Pink Floyd – The Wall at IMDb
• Pink Floyd – The Wall at Box Office Mojo
• Pink Floyd – The Wall at Rotten Tomatoes
• A Complete Analysis of Pinkish Floyd – The Wall by Bret Urick
• Original screenplay by Roger Waters

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Source: https://en.wikipedia.org/wiki/Pink_Floyd_%E2%80%93_The_Wall

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