Now 20 years later, while watching another Gilbert and Sullivan performance (of sorts) I am still thinking the same things.
Continue reading: Topsy-Turvy Review
If you're caught up in the psychedelic imagery, confused by what the film is really about, let me offer a summary. At its heart, a rock star named Pink (Bob Geldof) discovers his wife is cheating on him when he calls home one day while on tour, discovering she's with another man ("this is United States calling..."). Pink recedes into a shell of his own creation, remembering his troubled childhood with evil schoolmasters ("hey, teacher, leave those kids alone...") and the problems he caused his mother ("mother, do you think they'll try and break... my balls?"), but mostly dreaming about his father who died in World War II ("bring the boys back home!"), a father he never knew. Crazier and crazier ("toys in the attic, he is crazy"), Pink puts up a wall to shield himself from the outside world, finally imagining himself a Hitler-like leader ("if I had my way... I'd have all of you shot!") until his eventual trial for his real and imaginary crimes. The verdict: Guilty. The sentence: "Tear down the wall."
Continue reading: Pink Floyd The Wall Review
Director Mike Leigh has usurped his subjects' mirthful sense of humor and penchant for prolonged presentation in his new film "Topsy-Turvy," a jaunty, jolly, light-hearted look at the lives of Victorian operetta architects Gilbert and Sullivan.
Like G&S, Leigh delights in garnishments that add color to his characters and to the pliant performances such details inspire.
Leigh's actors are always especially absorbed in their parts because of the way he works -- creating the screenplay in concert with his players during incessant rehearsals -- but in contrast to his downcast-but-hopeful, slice-of-life dramas ("Secrets and Lies," "Career Girls"), this picture radiates a distinct playfulness that is nothing short of contagious.
Continue reading: Topsy Turvy Review