You think you know weird? You think you know depressing? Well, this flick’s got both in spades, and then some. It’s like someone took all the angsty teenage poetry ever written, set it to the most mind-bending rock opera ever conceived, and then filmed the whole thing while on a bad trip. You’ll see animated nightmares, flesh-eating flowers, and Bob Geldof looking like he just finished a weeklong bender. It’s a cinematic experience, alright – one you might need therapy to recover from. Soul-crushingly, mind-meltingly bad… and absolutely brilliant

Now, if you’re looking for a feel-good flick, a nice little romp with a happy ending, you’re in the wrong theater, pal. This ain’t your grandma’s musical. This is a descent into madness, a two-hour-long cry for help set to some of the most iconic rock music ever made. It’s got more symbolism than a college art exhibit and more existential dread than a tax audit. Prepare to be confused, disturbed, and maybe even a little bit enlightened.

Review by Ben Dover

So, “The Wall.” What a mess. A beautiful, glorious, head-scratching mess. Director Alan Parker and animator Gerald Scarfe created a visual nightmare that makes Salvador Dalí look like a Hallmark card designer, it’s like they decided to take Roger Waters’ already convoluted concept album and crank the weirdness up to eleven. You got Bob Geldof as Pink, the rock star spiraling into isolation and madness. He’s got the thousand-yard stare down pat, I’ll give him that. And honestly, who wouldn’t be a little off their rocker after dealing with the stuff Pink had to deal with? Between the overbearing mother, the war-torn father, and the soul-crushing music industry, I’d be hiding under the covers too.

The animation by Gerald Scarfe? Well, it’s certainly…something. It’s like a bad dream you can’t wake up from, all grotesque and unsettling. Those giant marching hammers? Gave me the willies. And don’t even get me started on the flesh-eating flowers. The “flowers copulating and then eating each other” sequence alone probably paid for my therapist’s summer home. It’s supposed to be symbolic, I guess, but mostly it just made me want to go outside and hug a tree.

The music, of course, is the real star here. Pink Floyd’s iconic tracks are woven into the film seamlessly, driving the narrative and amplifying the emotional impact. Even a geezer like me has to admit, those tunes are catchy. But the film itself, it’s not exactly a barrel of laughs. It’s a dark, brooding, and often disturbing experience. You’ll leave the theater feeling like you just ran a marathon through your own subconscious.

But here’s the thing – as much as it pains my cynical heart to admit it, “The Wall” holds up disturbingly well today. In fact, it might be more relevant now than it was in 1982. The film’s dark vision of isolation, alienation, and how easily pain can transform into extremism feels tailor-made for our social media age. Pink builds his wall to keep the world out, but ends up trapped inside with his own demons – sound familiar, smartphone addicts?

The warnings about fascism and conformity? Well, just turn on the news. The critique of education systems that crush creativity? Still spot-on. The exploration of toxic masculinity before we even had that term? Eerily prescient. Even the animation style, which should look dated, somehow feels more authentic than today’s computer-generated perfection.

As for the special effects, they’re… well, they’re of their time. Lots of practical effects, some animation, and a whole lot of weirdness. It’s not exactly CGI-level polish, but it fits the film’s gritty, surreal aesthetic.

Rating: 4/5 Hellish animations – An absolutely miserable experience that you should subject yourself to at least once in your life. Like root canal surgery or marriage, it’s painful but somehow necessary. Just don’t watch it if you’re already depressed, on medication, recently divorced, or planning to be in a good mood ever again.

ABOUT THE CRITIC

BEN DOVER first watched “The Wall” in 1982 at a midnight screening after what he describes as “three beers too many,” an experience that left him “questioning reality for approximately six weeks afterward.” He claims to have owned the film on VHS, LaserDisc, DVD, and Blu-ray, despite insisting he “never wants to see the damn thing again.” Dover’s wife reportedly hid their copy after finding him staring blankly at the wall (the actual wall, not the movie) following his fifth consecutive viewing one weekend in 1995. He maintains that the film’s giant judge puppet still appears in his dreams “at least monthly, usually when I’ve eaten spicy food before bed.” Dover once met Roger Waters at a record store signing and could only manage to mumble, “Your movie broke my brain,” to which Waters reportedly replied, “That’s what it was supposed to do, mate.”

Starring

Bob Geldof as Pink: The rock star at the center of the film’s descent into madness. He was, surprisingly, in the Boomtown Rats, a new wave group from the 70s and 80s.
Christine Hargreaves as Pink’s Mother: An overbearing and controlling figure in Pink’s life.
James Laurenson as Pink’s Father: A soldier killed in World War II, whose death deeply traumatizes Pink.

Synopsis and Plot Breakdown

“Pink Floyd – The Wall” follows the story of Pink, a rock star who builds a metaphorical wall around himself to isolate himself from the world. The film is a series of fragmented memories and surreal sequences that depict Pink’s troubled childhood, his father’s death in World War II, his overbearing mother, his failed marriage, and his descent into drug-fueled madness. As Pink’s isolation deepens, he becomes increasingly detached from reality, culminating in a nightmarish fascist rally where he imagines himself as a tyrannical leader. The film ends with Pink’s wall symbolically crumbling, suggesting a potential for healing and redemption.

Famous Quotes

“If you don’t eat your meat, you can’t have any pudding! How can you have any pudding if you don’t eat your meat?”
“All in all, it’s just another brick in the wall.”
“Mother, do you think they’ll drop the bomb?”
“Hush now, little pink, don’t you cry. Mother’s gonna make all your nightmares come true.”
“Is there anybody out there?”

Notes From the Movie

The film is largely based on Roger Waters’ own experiences and feelings of alienation.
Gerald Scarfe’s animation sequences were created using traditional hand-drawn techniques.
Bob Geldof was chosen for the role of Pink because of his raw, intense energy.
The film’s live-action sequences were shot on location in London and at Pinewood Studios.
The film’s ending is intentionally ambiguous, leaving the audience to interpret Pink’s fate.

Photos