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IMDbPro

Tonite Let's All Make Love in London

  • 1967
  • 1 h 10 min
AVALIAÇÃO DA IMDb
6,9/10
391
SUA AVALIAÇÃO
Tonite Let's All Make Love in London (1967)
DocumentárioMúsica

Adicionar um enredo no seu idiomaPeter Whitehead's disjointed Swinging London documentary, subtitled "A Pop Concerto," comprises a number of different "movements," each depicting a different theme underscored by music.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.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.

  • Direção
    • Peter Whitehead
  • Artistas
    • Alan Aldridge
    • Julie Christie
    • David Hockney
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,9/10
    391
    SUA AVALIAÇÃO
    • Direção
      • Peter Whitehead
    • Artistas
      • Alan Aldridge
      • Julie Christie
      • David Hockney
    • 11Avaliações de usuários
    • 6Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
  • Fotos2

    Ver pôster
    Ver pôster

    Elenco principal25

    Editar
    Alan Aldridge
    • Self (segment "Painting Pop")
    Julie Christie
    Julie Christie
    • Self (segment "Movie Stars")
    David Hockney
    David Hockney
    • Self (segment "Painting Pop")
    Andrew Loog Oldham
    Andrew Loog Oldham
    • Self (segment "It's All Pop Music")
    Edna O'Brien
    Edna O'Brien
    • Self (segment "Dollygirls")
    Pink Floyd
    Pink Floyd
    • Themselves
    • (as The Pink Floyd)
    Vanessa Redgrave
    Vanessa Redgrave
    • Self (segment "Protest")
    Robert Wace
    • Self
    Syd Barrett
    Syd Barrett
    • Self
    • (não creditado)
    Jim Brown
    Jim Brown
    • Self
    • (não creditado)
    Vashti Bunyan
    • Self (segment "It's All Pop Music")
    • (não creditado)
    Eric Burdon
    Eric Burdon
    • Self
    • (não creditado)
    Michael Caine
    Michael Caine
    • Self (segment "Movie Stars")
    • (não creditado)
    Allen Ginsberg
    Allen Ginsberg
    • Self
    • (narração)
    • (não creditado)
    Mick Jagger
    Mick Jagger
    • Self (segment "It's All Pop Music")
    • (não creditado)
    Ace Kefford
    • Self
    • (não creditado)
    Donyale Luna
    Donyale Luna
    • Self
    • (não creditado)
    Lee Marvin
    Lee Marvin
    • Self (segment "As Scene from U.S.A.")
    • (não creditado)
    • Direção
      • Peter Whitehead
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários11

    6,9391
    1
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    9
    10

    Avaliações em destaque

    ChristerThor

    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.
    5Bribaba

    Peep show

    Tonite Let's All Make Love In London - Yes, lets. A much better idea than making a documentary on the subject, especially one like this. Peter Whitehead's 1967 film is at least narration-free, though I soon found myself pining for something, anything other than the contributions of Mick Jagger ("in the future we'll only be working four hours a day"), or Michael Caine, giving a hint of the old reactionary he was soon to become ("short skirts cause a loss of moral fibre").

    On the plus side there's Julie Christie keeping it delightfully unreal and David Hockney ("what I find really sexy is footballers kicking their legs up in the air"). In between times there's a shaky home movie going on, purporting to be about the club scene. Strange, then, that the camera, which never lies, spends an inordinate amount of time being pointed at girl's legs. Pink Floyd's Interstellar Overdrive provides the aural backdrop while Eric Burdon and the Animals are shown recording When I was Young, but it's another song of theirs that this film may bring to mind: We Gotta Get Out of This Place.
    kavanagh

    A vital historical footnote, or not as the case maybe

    I agree. This film is total and utter rubbish. But so were the times in which it was shot. Sex had only been invented in 1963 (pace P Larkin) and by 1967, London was revelling in this new discovery. However, this piece of unmitigated nonsense has one valuable asset: if any of the younger generation wonder where Mike Myers got the concept for Austin Powers then this is the lodestone. True, Myers drew inspiration from some truly dreadful TV series of the 60s but this film will give junior cineasts great help in understanding the lingo and the background to Mr Powers. Watch it once by all means for the sake of reference. And then as Monster 17 says, get help!
    10slabihoud

    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.
    5matlock-6

    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.

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    Enredo

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    Você sabia?

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    • Curiosidades
      The film is divided into 7 "Movements" followed by a "Happy End". The segments are called (1) Loss of Empire (2) Dolly Girls (3) Protest (4) It's All Pop Music (5) Movie Stars (6) Painting Pop; and (7) As Scene From the U.S.A.
    • Citações

      Herself (segment "Dollygirls"): [Edna O'Brien] You meet a boy now, or a man, and you don't really have to protest about your virginity. In fact, it will be a great disappointment to him if you say, you know, it's the first time, I mean he'll leave the room.

      Herself (segment "Dollygirls"): The other thing that makes a woman free now is, I suppose, money. They have money and they can work so the dependence on a man isn't as great. But the thing that makes her very un-free and always will, I imagine, is although she has a sort of vagrant heart, a woman does tend to like being with one man even if it's only for three months. She's not as content, I think, going from bed to bed.

      Herself (segment "Dollygirls"): You've always got decadent people but what is so strange now is that the most gifted, the most articulate and the most thinking, conscious people are decadent because of the time in history that they're alive in. And there's nothing else you can say to that unless you're God and if you're God you can say, "it's alright, I won't drop the bomb".

      Herself (segment "Dollygirls"): I do. I believe in female promiscuity except that it happens a different way that a woman probably likes to shack up with a man for three months and then with another man whereas a man would like to shack up for an evening. And I think there's still this awful, and I wish we didn't have it, because it's such a handicap, this thing of, falling in love. You know, it's such a nuisance. And I think women, no man will agree to this but I'm sure it's true, women are more devoted and committed to the notion of falling in love and therefore they fall in love, than men are because it is the one territory of adventure that a woman has. She can't go across bloody Africa, or if she does she'll become pregnant or, or anyhow she can't. She just can't yet. And maybe never will.

    • Conexões
      Edited from Pink Floyd London '66-'67 (1967)
    • Trilhas sonoras
      Interstellar Overdrive
      Written by: Pink Floyd, Syd Barrett, Nick Mason, Roger Waters & Richard Wright

      Performed by Pink Floyd, Syd Barrett, Nick Mason, Roger Waters & Richard Wright

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    Detalhes

    Editar
    • Data de lançamento
      • dezembro de 1967 (Reino Unido)
    • País de origem
      • Reino Unido
    • Idioma
      • Inglês
    • Também conhecido como
      • London, Frühjahr 67
    • Locações de filme
      • Pall Mall, St James's, Westminster, Greater London, Inglaterra, Reino Unido(guards marching)
    • Empresa de produção
      • Lorrimer Films
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 1 h 10 min(70 min)
    • Cor
      • Black and White
      • Color
    • Mixagem de som
      • Mono
    • Proporção
      • 1.37 : 1

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