SYNOPSICS
Tonite Let's All Make Love in London (1967) is a English movie. Peter Whitehead has directed this movie. Alan Aldridge,Julie Christie,David Hockney,Andrew Loog Oldham are the starring of this movie. It was released in 1967. Tonite Let's All Make Love in London (1967) is considered one of the best Documentary,Music movie in India and around the world.
Peter Whitehead's disjointed Swinging London documentary, subtitled "A Pop Concerto," comprises a number of different "movements," each depicting a different theme underscored by music: A early version of Pink Floyd's "Interstellar Overdrive" plays behind some arty nightclub scenes, while Chris Farlowe's rendition of the Rolling Stones' "Out of Time" accompanies a young woman's description of London nightlife and the vacuousness of her own existence. In another segment, the Marquess of Kensington (Robert Wace) croons the nostalgic "Changing of the Guard" to shots of Buckingham Palace's changing of the guard, and recording act Vashti are seen at work in the studio. Sandwiched between are clips of Mick Jagger (discussing revolution), Andrew Loog Oldham (discussing his future) - and Julie Christie, Michael Caine, Lee Marvin, and novelist Edna O'Brien (each discussing sex). The best part is footage of the riot that interrupted the Stones' 1966 Royal Albert Hall concert
Tonite Let's All Make Love in London (1967) Reviews
A brilliant reflection of Swinging London...
This film is a great reflection of London and the British scene in the 1960's, dated for 1967, with authentic film footage of Pink Floyd with brilliant Syd Barrett heading them. Some people say it is boring, but should not leave reviews if they feel so strongly to negate a film which requires patience and culture, perhaps a more enlightened perspective. It features cameos by Lee Marvin parading about, as well as Eric Burdon, another legend. The reason why some do not understand it is because it is'nt filled with gimmickery or special effecst or some ellaborate script that fits into some conventional genre. But it is an experimental film, a time-capsule with rare raw footage that Floyd fans or any British scene enthusiast would love. I personally was thrilled and would reccomend the film to anyone with interest or the I.Q. to comprehend the film's inherent idea. If you are looking for some passionate drama or an Arnold S. gore-fest, go elsewhere. Dig this film!
A time-capsule from the London Psychedelic Underground
For die-hard fans of Pink Floyd only. This is a history-lesson into the psychedelic London underground of the mid-60's, where light-shows, "Happenings", Beat-poetry, and spacey music were all the rage. This film is mainly several pieces of concert-footage of Pink Floyd in its original incarnation, when Syd Barret was still in the band, prior to him loosing his marbles and being replaced by David Gilmour. You see Syd and the band playing some long sets of "Interstellar Overdrive" on stage under strobe-lights, a piece of music that true fans love and which the uninitiated often find meandering and boring due to the modern short-attention span. This is Space-Rock, it ain't Britney Spears. You get to hear Allen Ginsburg recite poetry over images of the London night-life. You see John Lennon attending one of Yoko Ono's famous performance-art pieces, prior to them having met. You see Eric Burdon walking around. It's basically a slice-of-life in the heart of what's now called "the Swinging 60's". View it, if you can find it, for the history, if nothing else. For Floyd fans it's one of very few opportunities to see Syd Barret playing with the band, which is reason enough to seek it out.
Of some historical note
Tonight Lets All... is not a flashy hollywood movie, designed for today's Attention Deficit Disorder type of filmgoers. What it is is a unique and well crafted look at London in the swinging 60's. Peter Whitehead made this film inspired by the London underground scene of 1966-67, which included such bands as Pink Floyd (who perform the great bulk of the films music), The Soft Machine, The Crazy World of Arthur Brown, and others. This is probably not the kind of thing that would be well recieved in theatres. There aren't any computer generated insects flaying people alive and being shot to bits in return, nor is there any gratuitous sexuality or repeated foul language use. As a documentary of the underground scene in 1967 London, Whitehead's film is a testament to vision, creativity, and the spirit of the day. There are film clips of Pink Floyd in the recording studio and performing at the 14 hour Technicolor Dream (a huge music and art festival) along with original guitarist, singer, songwriter Syd Barrett. If you like historical documentaries, give this one a try.
less than the sum of its parts
Director Peter Whitehead was something of a one man band as a film maker making news items and what we now call pop promos. So what we get here is a number of the kind of films he was producing at the time joined together, collage like, rather than a rounded supposedly complete vision. But hey thats what it was like, there was no simple straight line narrative knitting it all together. Personally I think this makes it more honest and valuable as a document of the time and the reason why TV programmes are still using this material to illustrate programmes about the period. My favourite moment features the Stones playing the Royal Albert Hall and whipping the audience up into a rioting mob that flood the stage with Brian Jones laughing his head off at the chaos. Also Lee Marvin and Michael Caine define cool while Vanessa Redgrave sings out of tune.
Swinging London in a nutshell
Encapsulated in 67 minutes of blown-up 16mm color film is Swinging London at its best! Everything is there: the music, the protests, the stars, the fashion, the artists. Presented in the style of the sixties, odd camera movements, psychedelic color effects and complicated montages of stock footage combined with new material. Organised in chapters, we see some interviews of then and sometimes still famous people talking about what is going on in their lives and in London particularly. Sadly the color of the film faded into brownish red mostly, every trace of blue completely gone. It is obviously the work of someone new to the medium, because he does not hesitate to try out various effects, using the music to its best advantage. I just saw the film yesterday at Vienna"s International Film Festival and Peter Whitehead was there and talked about it. Great guy! P.S. I don't understand why so many reviewers write about Pink Floyd in this film. They are there but don't play an important role. Some reviewers definitely refer to a different film.