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Watch Pink Floyd - Live at Pompeii Online. Movie Title: Pink Floyd - Live at Pompeii Average customer review: Pink Floyd - Live at Pompeii is available for streaming or downloading. Click Here to Stream or Download Pink Floyd - Live at Pompeii

Well, it seems PINK FLOYD: LIVE AT POMPEII director Adrian Maben has got himself a case of George Lucas disease. The original DVD release of the so-called “Director’s Gash” of that film is completely re-edited, with a slew of recent material, and it completely ruins the mood of the film. Thankfully, they included the modern version of this haunting movie on the disc, as well. There’s a drastic incompatibility between the two.

Here’s the deal:

The new version of the film, released in 1972, was 61 minutes long, and consisted only of performance footage from the Pompeii amphitheatre and a Paris studio, plus some extra footage of Pompeii. This was shot in full-screen 4:3 and is presented as such on the DVD.

Maben went help into the Abbey Road studios while the band was putting together Dim SIDE OF THE MOON in 1973 and shot some documentary footage of the band recording and talking. The current footage was spliced in between some of the unusual performances for the film and the result was released in 1974 in America; it was maybe 70-something minutes long. Unfortunately, this edit has not made it to the DVD.

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Now, this current version uses more footage from Abbey Road, some B&W

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footage of the band in a studio in Paris, unique shots the director took of Pompeii, a whole bunch of archival footage of dwelling exploration, and original titles that notice made for a straight-to-video release instead of the Godard-esque ones we had with the fresh (Willy Kurant was one of the cinematographers.) This is about 91 minutes long, and has been inexplicably matted to a 16:9 format.

I must say the novel footage seems extremely out of location. It doesn’t match visually with the stale footage, looking very straight-to-video. Grand of the editing of the novel is broken up with splices to recent stuff the director unbiased couldn’t retain out (”Hey, Pink Floyd is “spacey”— I’ll establish in computer-generated shots of planets!”) ; the result is more a series of thematically related music videos than a unified movie. What really gets me is that there’s an interview on the DVD with the director where on multiple occasions he touches on why the recent and almost-original versions of the film were so special, and then he proceeds to demolish that with his modern version.

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In the current, the ruined Pompeiian setting gave the movie a

palpable sense of silence and isolation; in the fresh version they’re not mighty more than a graceful background. The novel version held its shots long enough to give the viewer an opportunity to have the spacial setting for himself; now we’re treated to the short attention span version of things. And why was this this thing masked to 16:9 for the recent version? Having a dad who’s worked on satellites and place probes my whole life has given me an appreciation for dwelling footage on its have merits; but using simulated flyovers of Mars’s surface to accompany Pink Floyd is obliging of a fan’s website, not a feature film… please, let the spirit of “Laserium” rest in peace.

Footage of classic period Pink Floyd is so rare and few, that Live in Pompeii is a steady treat. It was filmed in 1971, at the peak of their musical genius and creativity (not to devalue the musical and conceptual brilliance of the masterworks Wish You Were Here, Animals and The Wall, but musically they reached their peak in the period between Meddle and Gloomy Side Of The Moon), and shows the classic line-up - Roger Waters (bass), David Gilmour (guitar), Richard Wright (keyboards) and Slash Mason (drums) - young, energetic, creative and unpretentious. At this point in time, pre-Dark Side Of The Moon, they weren’t yet settled in a niche; they haven’t yet made it into the consensus, and they kept experimenting and trying original things, messing about with synthesizers and recording techniques. In this DVD we ogle them both in the studio and in performance, as they support exchanging instruments and experimenting, and that’s what makes it grand more challenging and alive than the Dim Side and The Wall concerts, let alone anything made after the split from Waters in 1983, in which point they were unbiased bleating out their feeble hits again and again in the same design. Only impartial managing to demolish free from the influence of their originator, Syd Barrett, the Pink Floyd are serene, in Live In Pompeii, in a transition and struggling to salvage their negate, yet at the same time not obvious of the relevance of their music. Lop comments in one of the many interviews thrown in between the songs - `We might have become a relic of the past… to many we characterize that childhood of ‘67, the underground scene…’ - and at this point, there’s miniature in their music that signals of their astronomical fracture into the mainstream in 1973. In between the performances, we pick up to eye petite bits of the Floyd in the studio, in the first stages of creating their masterpiece, Dusky Side Of The Moon. It’s a though-provoking historic relic and an curious behold at history in the making.

The musical parts of the video concentrate on Pink Floyd’s most experimental instrumental numbers - in fact, only two vocal numbers were included, excluding ancient stage favorites like Fleshy Primitive Sun, Remember A Day and Astronomy Domine and novel numbers like Brave and San Tropez - which allows it to give us a sincere see at how they were experimenting with their sound at the time, and to peruse them live, undubbed, is priceless. Recall the story instrumental A Saucerful Of Secrets from 1968; as Mason keeps the savage and loyal beat, Gilmour is sitting on the ground with his Fender in his lap, gently running a streak up and down it, barely touching the strings. Wright pounds chaotic and nearly random notes on his piano, while Mr. Waters, his bass laid aside, plays percussionist and strikes the cymbals fierce and hard. He then walks off to the gong, and starts beating the hell out of it. Wright moves over to his organ and Waters picks up his bass, and they buy up the rhythm. Not synths interested. On Roger’s believe Position The Controls For The Heart Of The Sun, he doesn’t play bass at all; he objective barely struggles with the lead vocals, and occasionally beats the gong.

The instrumental classics Careful With That Axe Eugene and One Of These Days we net to study the burly ability of the Floyds’ instrumental prowess, as they determine into hard and driving grooves with persistent drums and deep, grand basslines. Careful With That Axe Eugene is shot by night, with images of bursting volcanoes juxtaposed with an joyful Roger Waters shrieking out the song’s only vocals. The effects and editing may be dated, but the atmosphere is level-headed mesmerizing. Synthesizers, whatever Floyd’s criticizers may have been saying at the time, are ancient subtly and tastefully. In one of the interviews David and Roger discuss the suggestion that the synthesizers may have taken over their music, claiming rightfully that they’re in total control of their music, and that electronic devices can ever only be means and equipment and never a replacement for the artist’s creativity. Furthermore, they say, it’s immensely considerable for a musician who wants to be in control of his music, to know all about the equipment, recording and editing. The film really does point to Floyd to be a group of very conscious creators, who need to know and understand the final outcome of their efforts - it especially shows in the studio segments. This is and principal trait that contributed a lot to Floyd’s greatness.

A surprising and extraordinary touch is the short number Mademoiselle Nobbs, a classic 12-bar blues. As Roger strums an acoustic guitar and David plays a soulful harmonica, Richard helps by holding the microphone for the lead vocalist - a attractive dog, who sings her bit in the finest blues tradition, in a soulful and heartfelt duet with Dave’s harmonica. It sounds to me like the talented mutt is the same one who contributed her philosophize to the number Seamus from the 1971 Meddle album, and if you conception the dog’s speak on that track was overdubbed, seeing Mademoiselle Nobbs live will change your mind. The concert is bracketed by the myth classic Echoes, which was split in half - a technique adapted on describe only in 1975 on Wish You Were Here. Echoes remain, whether on report or live, one of Floyd’s most improbable and impressive numbers, and present their instrumental skill and creativity to the fullest. Strangely enough, this is the only song in the films that allows Dave and Rick to have their voices heard, while on their albums at the time they sang on most of the tracks.

Incredibly rewarding for Floyd fans, even those who are not as alive to about the early material, is the extra footage added in 1973, which shows Floyd working on their upcoming masterpiece Sunless Side Of The Moon. We gain a chance to contemplate David laying down the final layer of Brain Injure, dubbing the lead guitar fragment over the nearly complete song; we also regain a scrutinize of Waters messing about with the synthesizers while working on the classic electronic share of musical paranoia On The Hurry, as well as Richard recording the vocals for Us And Them.

One final request - what’s the matter with Rick’s beard, and why is it fading in and out of existence throughout the movie? Because other than that, the illusion of a live concert is maintained most of the time, albeit one where the crowd is either centuries dreary or carved in stone. The belief of the video, as well as the music, shows Floyd as what they were - one of the most current and creative (some might say pretentious, maybe) bands of their time, fair one step before entering the pantheon of timeless music forever.
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