The gamecock. (Columbia, S.C.) 1908-2006, September 24, 1982, Page 11, Image 12
'The Wall' roil
By TTiomas Redwine
"Pink Floyd-The Wall."
Hearing these words, the first thing many
people think about is the chart-busting 1979
album by the British rock group Pink Floyd.
The album and the single "Another Brick in
the Wall, Part Two" immediately took hold
of the pop charts and kept hold long enough
to obtain platinum status five times over.
Now, there is the movie to consider.
I HAVE seen "The Wall" twice to get a
better understanding of the movie. It is the
most complicated, emotional film of 1982.
"The Wall" rolls destruction, love, hate, sex
and mind-altering rock music over the
viewer, leaving him shell-shocked and
dazed. I was physically and emotionally
exhausted at the end of the movie.
The film and the album concern Pink, a
rock star who has alienated himself from
humanity with drugs, money and a mental
"wall" that blocks out anyone trying to get
in.
In a very complicated series of flashbacks,
flashes forward and slices of other
lives that interact with Pink's, the viewer
literally experiences Pink's past.
Pink's father is killed while commanding
* u': *.
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k mh. kf ifllllV,
Lead singer Belinda Carlisle and the other Go-I
on water skis in the design of "Vacation."
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is emotion, co
film review
a squadron of troops holding the Anzio
bridgehead in World War II, when Pink is
just a babv. Ten minutes into the film, the
viewer sees 100 men lose their lives in
battle. Pink's mother soon overcompensates
for the missing father figure,
smothering the child to protect him from
life.
BUT LIFE is inescapable. Young Pink is
spurned at the playground and later
ridiculed by his teacher at school.
Fans will be pleased to know that
"Another Brick in the Wall, Part Two" is
one of the best sequences in the film. The
viewer sees nice, ordinary British
schoolchildren turned into puppets.
It is in school that young Pink, portrayed
by Kevin McKeon, starts to construct The
Wall in order to protect himself from the
pain of everyday life.
Finally, the older Pink (brilliantly
brought to life by Bob Geldof, the Boomtown
Rats'lead singer in his first screen role)
realizes that The Wall may be his undoing.
See "Pink," page 12
O _ O t _ j
^ H uo-uo S SI
"Vacation," the Go-Go's s<
sweethearts lacking pep, ii
"Beauty and The Beat," t\
euP^oric "Our Lips Are St
6 Beat" and rode the to
"Vacation" is such a medio
*he rePuLation The Knack h
_ ? "Vacation" is a musical "sopl
II.' fiMI? l'\rr>nn<i
ir unc< cut iium vdtdn
situation, it's the Go-Go's re
"Cool Jerk." "Cool Jerk" is t
* Go's have ever put on vinyl. F
Ji to the original and to the fu
I from 1974.
i The title cut, "Vacation,"
strong as "Our Lips Are Seal*
I four songs have any redeer
Along," "I Think It's Me," "1
You Dance."
"We Don't Get Along" is 1
I one, featuring a competent gi
' "I Think It's Me" recalls gi
jo's are pictured as "when Yoi
trick ending for good measur
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nfusion over ai
^3 4 ' " , /
Kevin McKeon (I), ?. young Pink, confronts the <
one of the fantasy sequences in "The Wall."
tumble into sonhi
icond album, shows America's - 3
magination and instrumental
le band's first release, yielded Side two is res<
ialed" and the hammering "We sleeper cut, fea'
p of the charts. "Vacation" and
ere album, the Go-Go's may get Steve Berlin,
ad for being over-hyped fluff. "The Way You
homore slump." "Vacation," with
toms.
on" typifies the group's sorry
make of The Capitols' 1966 hit, "HE'S SO ST*
he most wretched thing the Go- simply filler, whi!
or comparison, one snould listen Fartytime is liti
nked-up version by Babe Ruth and is otherwise f<
"Worlds Away,
is a chart single, but it's not as lifeless, but lead
2d" or "We Got The Beat." Only emotion into this <
ning qualities: "We Don't Get The titles of "
rhis Old Feeling" and "The Way promise more th
expectation and tl
:he catchiest number from side Go-Go's produc
litar solo from Charlotte Caffey. poorly mixed bac
litar lines from The Searchers' group's strong fK
1 Walk Into The Room," with a drum has been mi
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older rock star, played by Bob Geldof, in
jmore slump
Ibum review
zued by "This Old Feeling," the album's
turing the best vocal arrangement on
a Phil Spector-esque saxophone solo by
Dance" is the sole "rock-it-out" song on
standard surf guitar riff and pounding tomIANGE"
and "Get Up and Dance" are
le the introduction to "It's Everything But
ted from Roxy Music's "Thrill Of It All,"
orgettable.
" the lone ballad from the album, is rather
singer Belinda Carlisle at least puts some
:ut.
Beatnik Beach" and "Girl of 100 Lists"
an they deliver as the lyrics fall short of
tie arrangements lack punch.
:er Richard Gottehrer is responsible for the
kground vocals, which should be one of the
)ints, as all members s.ng. The repetitive
xed too far up in the overall sound.
See "Go-Go's," paae 12
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