Roger Waters, the validity of The Wall and staged scenes

Roger Waters paraphernalia goes beyond the sense of sight. There is no denying the staging that the artist always has sought to highlight from his time with Pink Floyd until her wealthy steps as soloist.

Roger Waters. The Wall flaunts his artistic and technical ability to represent one of the most important records not only his career, but the rock. The wounds of war and personal demons late seventies crossed the musician not only limited to a depressive lyrics that evoke the loss, hot flushes and destruction, but also the terror of Nazism scene is recreated. Fireworks, visual, actors who fascist soldiers, flags, symbols, simulated shots and even a plane crash with the platform are part of a difficult scenario to cover as a simple spectator at concerts conducted between 2010 and 2013 records the musician in the documentary that runs in conjunction with Sean Evans.

With it also writes the script of the film in which the composer not only shows a series of presentations of their tour, but the tour that starts in an elegant old car to Italy, where he wants to know the place where is buried his father, died in World War II.

Intersperses compositions with details of that trip, his tribute to the fallen in battle. Waters updates its complaint against the horror of conflict such as Iraq, while reiterating its criticism of greed and capitalism. They are known interviews in which the bassist says that democracy is declining in western countries as the scope of the global arms conglomerate increases.

The film achieves its purpose by showing a millionaire show their technical capabilities to accompany a work like The Wall, still effective and enduring in generations in a context that seems increasingly difficult for the public to digest long and concept albums so erratic which may be the streaming music services, whose immediacy is irresistible. However, the film makers are not convincing in scenes outside stage, which show the perfect trip to Italy surrounded by country roads. Do not. Waters conversations with people giving details of their purpose are imposts, cardboard. One of the worst is the one that occurs in a bar in France. The artist looks distressed to speak, but one doubts whether it is genuine or just feeling seeks to reinforce a pattern search of a past to close a chapter. The partners are family and friends, but there are also actors.

Roger Waters. The Wall is an excellent record of three years of touring recently by the interpreter, who not only demonstrated its validity as an artist of worship, but also the circumstances still prevailing in many of the reasons that when they compose worried. The intention to share the moment seeking war memorial soldiers, including his father, is laudable, but the drama is not convincing. Note the theater and the stage of cardboard from a person who seems does not miss any details.