Pink Floyd – The Wall

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

Audiences at those vast concerts are there for an excitement which, I think, has to do with the love of success. When a band or a person becomes an idol, it can have to do with the success that that person manifests, not the quality of work he produces. You don't become a fanatic because somebody's work is good, you become a fanatic to be touched vicariously by their glamour and fame. Stars—film stars, rock 'n' roll stars—represent, in myth anyway, the life as we'd all like to live it. They seem at the very centre of life. And that's why audiences still spend large sums of money at concerts where they are a long, long way from the stage, where they are often very uncomfortable, and where the sound is often very bad.[4]

Waters was also dismayed by the "executive approach", which was only about success, not even attempting to get acquainted with the actual 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, along with the decision to name the lead character "Pink", partly grew out of that approach, combined with the issue of the growing alienation between the band and their fans.[5] This symbolised a new era for rock bands, as Pink Floyd "explored (... ) the hard realities of 'being where we are'", echoing ideas of alienation described by existentialists such as Jean-Paul Sartre.[6]

The animation segments, including the "marching hammers", were animated by Gerald Scarfe.

Even before the original Pink Floyd album was recorded, a film was intended to be made from it.[7] However, the concept of the film was intended to be live footage from the album's tour, with Scarfe's animation and extra scenes.[8] The film was going to star Waters himself.[8] EMI did not intend to make the film, as they did not understand the concept.[9]

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.[10] Waters began work on the film's screenplay after 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 role of Pink, after screen tests, he was removed from the starring role[11] 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's manager pitched the role to the singer, who continued to reject the offer and express his contempt for the project throughout the fare, unaware that the taxi driver was Waters' brother, who told Waters about Geldof's opinion.

Since Waters was no longer in the starring role, it no longer made sense for the feature to include Pink Floyd footage, so the live film 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 low light levels turned out to have insufficient resolution for the movie screen. Complex parts such as "Hey You" still had not been properly shot by the end of the live shows.[13] Parker convinced Waters and Scarfe that the concert footage was too theatrical and that it would jar with the animation and stage live action. After the concert footage was dropped, Seresin left the project and Parker became sole director.[14]

One of the masks worn by children in the classroom scenes; displayed at the Pink Floyd: Their Mortal Remains exhibition

Parker, Waters and Scarfe frequently clashed during production, and Parker described the filming as "one of the most miserable experiences of my creative life."[15] Scarfe declared that he would drive to Pinewood Studios carrying a bottle of Jack Daniel's, because "I had to have 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 way."[16] 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 cut to his hand as he pulled away the Venetian blinds. The footage remains in the film. It was discovered while filming the pool scenes that Geldof did not know how to swim. Interiors were shot at Pinewood Studios, and it was suggested that they suspend Geldof in Christopher Reeve's clear cast used for the Superman flying sequences, but his frame was too small by comparison; it was then decided to make a smaller rig that was a more acceptable fit, and he lay on his back.[18] In Nicholas Schaffner's book Saucerful of Secrets: The Pink Floyd Odyssey (1991) it is claimed that the body cast from the film Supergirl (1984) was actually used instead.[19]

The war scenes were shot on Saunton Sands in North Devon, which was also featured on the cover of Pink Floyd's A Momentary Lapse of Reason six years later.[20]

The film 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 first weekend, grossing over $68,000, a rare feat even by today's standards. The film then spent just over a month below the top 20 while still in the top 30. The film later expanded to over 600 theatres on 10 September, achieving No. 3 at the box office charts, below E.T. the Extra-Terrestrial, and An Officer and a Gentleman. The film eventually earned $22 million before closing in early 1983.[3]

The film received generally positive reviews. Rotten Tomatoes currently ranks the film with a critics' review rating of 68% (based on 25 reviews). The critical consensus reads "Pink Floyd's expression of generational angst is given striking visual form The Wall, although this ambitious feature's narrative struggles to marry its provocative images and psychedelic soundtrack into a compelling whole."

Reviewing The Wall on their television programme At the Movies in 1982, film critics Roger Ebert and Gene Siskel gave the film "two thumbs up". Ebert described The Wall as "a stunning vision of self-destruction" and "one of the most horrifying musicals of all time ... but the movie is effective. The music is strong and true, the images are like sledge hammers, and for once, the rock and roll hero isn't just a spoiled narcissist, but a real, suffering image of all the despair of this nuclear age. This is a real good movie." Siskel was more reserved in his judgement, stating that he felt that the film's imagery was too repetitive. However, he admitted that the "central image" of the fascist rally sequence "will stay with me for an awful long time." In February 2010, Roger Ebert added The Wall to his list of "Great Movies," describing the film as "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 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 by Peter Biziou is extremely impressive and a few of the individual scenes have undeniable power."[26] It earned two British Academy Awards: Best Sound for James Guthrie, Eddy Joseph, Clive Winter, Graham Hartstone and Nicholas Le Messurier,[27] and Best Original Song for Waters.[27]

Waters said of the film: "I found it was so unremitting in its onslaught upon the senses, that it didn't give me, anyway, as an audience, a chance to get involved with it," although he had nothing but praise for Geldof's performance.[17] Gilmour stated (on the "In the Studio with Redbeard" episodes of The Wall, A Momentary Lapse of Reason and On an Island) 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 movie 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 not related to any real group, it was adopted by white supremacist group the Hammerskins in the late 1980s.[28]

It has been suggested that the protagonist stands in some way for Waters. Beyond the obvious parallel of them both being rock stars, Waters lost his father while he was an infant and had marital problems, divorcing several times.[29] It has also been suggested that Pink represents former lead singer, writer and founding member Syd Barrett, both in his appearance as well as in several incidents and anecdotes related to Barrett's descent from pop stardom due to his struggles with mental illness and self-medicating with drugs. One seemingly blatant reference is Pink's detachment from the world as he locks himself away in his room before a show and shaves himself down while suffering a mental break. During a mental breakdown, Barrett shaved his head and face before showing up to a band rehearsal (after already having been removed from the band). However, Bob Geldof, who plays Pink in the film, refused to shave his head for this part of the performance. Another influence was the declining state of pianist, Richard Wright, who was allegedly struggling with cocaine addiction at the time. This is referenced in the song Nobody Home: Got a grand piano to prop up my mortal remains.[30]

Romero and Cabo place the Nazism and imperialism related symbols in the context of Margaret Thatcher's government and British foreign policy especially concerning the Falklands issue.[31]