More


2h 1969
More

Brief Synopsis

A German boy and American girl, both teens, meet in Europe, fall in love, and travel from country to country in a tragic descent into the drug-abusing life of the new hippie movement.

Film Details

Genre
Crime
Drama
Foreign
Romance
Release Date
Jan 1969
Premiere Information
New York opening: 4 Aug 1969
Production Company
Doric Film; Jet Films
Distribution Company
Cinema V Distributing, Inc.
Country
Luxembourg

Technical Specs

Duration
2h
Sound
Mono
Color
Color (Eastmancolor)
Theatrical Aspect Ratio
1.66 : 1

Synopsis

Upon completing his university studies, Stefan, a German student, hitchhikes from Lübeck to Paris in quest of experience and self-knowledge. In the Latin Quarter, he is befriended by Charlie, a petty crook and gambler. Despite Charlie's warnings, Stefan falls in love with Estelle, an American expatriate who introduces him to marijuana. When Estelle goes to the island of Ibiza in the Mediterranean, Stefan raises money to follow her by joining Charlie in a robbery. Upon his arrival, he discovers that Estelle is involved with Wolf, an ex-Nazi who runs a resort hotel and traffics in narcotics. Stefan persuades Estelle to leave Wolf's hotel and live with him in a villa he has borrowed. One day Stefan overhears Estelle discussing narcotics with her friend Cathy. Although shocked by Estelle's past history as a heroin user and her lesbian relationship with Cathy, Stefan succumbs to Estelle's wishes by first making love to Cathy and then sampling some heroin. Stefan and Estelle rapidly become addicts, and Stefan is forced to support their habit by tending bar and trafficking in drugs for Wolf. The couple make a desperate attempt to cure themselves through the use of LSD, but this tactic ultimately fails, and their emotional and physical relationship deteriorates. Eventually, Charlie arrives and tries to persuade Stefan to return with him to Paris, but by now Stefan is too dependent on Estelle and drugs to make the break. When Estelle walks out after a violent quarrel, Stefan takes an overdose of heroin and dies.

Film Details

Genre
Crime
Drama
Foreign
Romance
Release Date
Jan 1969
Premiere Information
New York opening: 4 Aug 1969
Production Company
Doric Film; Jet Films
Distribution Company
Cinema V Distributing, Inc.
Country
Luxembourg

Technical Specs

Duration
2h
Sound
Mono
Color
Color (Eastmancolor)
Theatrical Aspect Ratio
1.66 : 1

Articles

More (1969)


"I had imagined this journey as a quest. I finished my studies in May. I wanted to burn all the bridges, all the formulas, and if I got burned, that was all right, too. I wanted to be warm. I wanted the sun and I went after it."
--Klaus Grunberg delivering the opening narration from More

Like Icarus, the German student, Stefan, at the center of director Barbet Schroeder's 1969 debut feature flies too close to the sun, only to be destroyed. But in More, the "sun" can mean multiple things: the sun-swept island of Ibiza, where much of the action takes place, the mercurial American expatriate Estelle (Mimsy Farmer), whom Stefan follows there, and the fleeting release provided by drugs, an addition into which Estelle leads him.

The film follows Stefan (Klaus Grünberg) who decides to drop out after finishing his studies at university. After hitchhiking to Paris and dabbling in burglary, he hooks up with an American girl (Mimsy Farmer) and follows her to Ibiza. Through her relationship to a former Nazi (Heinz Engelmann), he gets involved in the drug culture, which leads to his addiction to heroin.

Barbet Schroeder had made his name first as a critic for the film magazine Cahiers du Cinéma and then by producing films for director Eric Rohmer. For his first film, Schroeder turned to current cultural shifts, focusing on the rise of ennui after the student rebellions in Paris in 1968 and the rise of the counter-culture with its emphasis on free love and turning on. The film is far from a social tract, however. Schroeder focuses on drug use not as a social problem to be studied and solved but rather as a part of the culture. He doesn't use camera tricks to capture the feel of a high, good or bad, as had been done in films like The Trip (1967) and Easy Rider (1969). Instead, he shoots the drug use and the characters' reactions to being high straight on, in a near-documentary fashion. This is reinforced by his use of authentic locations in Paris and Ibiza, including his mother's villa by the Mediterranean. Ultimately, the film is more a dissection of a relationship and the personal issues that destroy it. As Schroeder would tell interviewer Noel Simsolo, "If my film is against anything, it is against attachments, illusions, selfishness, alienation. As for myself, I have no compassion for my hero. Someone who destroys himself is very unattractive to me." (Schroeder quoted in Elaine Lennon, "The Mordant Geography of Desire in Barbet Schroeder's More (1969), Off Screen, November 2015)

The film's look was provided by Spanish cinematographer Nestor Almendros, who had worked with Schroeder on Rohmer's The Collector (1967) and with Farmer on The Wild Racers (1968), his first foray into U.S. filmmaking. Almendros would become one of the world's most acclaimed cinematographers, winning an Oscar; for Days of Heaven (1978) and working with such legendary directors as François Truffaut (nine films, starting with 1970's The Wild Child), Terrence Malick (Days of Heaven), Mike Nichols (1986's Heartburn) and Martin Scorsese (1989's New York Stories). He and Schroeder would reteam for The Valley (Obscured by Clouds) (1972), /General Idi Amin Dada: A Self Portrait (1974), Maîtresse (1975) and Koko: A Talking Gorilla (1978).

For his leads, Schroeder cast German actor Grünberg in his film debut and Farmer. Grunberg would go on to a long career in Europe, most notably in Jirí Weiss' Martha and I (1990). Farmer, who took her stage name from Lewis Carroll's "Jabberwocky," had started in film as a teenager with an uncredited role in Gidget Goes Hawaiian (1961). Her first credited screen role was as James MacArthur's love interest in Spencer's Mountain (1963). In the late 1960s, she appeared in a string of youth exploitation films, including Riot on the Sunset Strip (1967) and The Wild Racers. She traveled to Europe in search of more demanding roles, which she got right off the bat with More, for which she had to embody the character's flirtatiousness, sudden rages and drug-induced states. That was followed by Road to Salina (1970) and Dario Argento's giallo Four Flies on Grey Velvet (1971). She continued working in European films for the next two decades, but left acting in 1991 to focus on art. Since then, she has become an acclaimed sculptor and painter and served on the art department for such films as Charlie and the Chocolate Factory (2005), Guardians of the Galaxy (2014) and Beauty and the Beast (2017).

Schroeder enlisted members of the rock band Pink Floyd to create the soundtrack, their first for a motion picture, but insisted he did not want background music. Instead, all of the music comes from on-screen sources. The soundtrack, released on August 9, 1969 in the U.S., would be their first album without founding member Syd Barrett, whom they had kicked out of the group a year earlier. The score combined psychedelic rock with acoustic folk ballads and some experimental instrumentals. On its release, it reached number nine on the UK charts. The band would reunite with Schroeder to score The Valley (Obscured by Clouds) and would provide the memorable score for Michelangelo Antonioni's Zabriskie Point (1970)

The film was very successful with European critics and at the overseas box office, even though French film censors forced Schroeder to bleep out the ingredients Grünberg and Farmer discuss while creating their own version of LSD. Critics hailed Schroeder as a major new filmmaker and compared Farmer favorably to Jean Seberg in Breathless (1960). In the U.S., it met with more mixed reactions. Vincent Canby of the New York Times called More a "very beautiful, very romantic film about self-destruction," praising the acting, the directing and Almendros' camera work. He was echoed by other New York reviewers, but the film did not fare as well in other U.S. cities. Although Roger Ebert praised Farmer's "freaky, brittle, and almost neurotically repressed" performance, he found most of the film boring, stating that watching people turn on was far from dramatic.

Schroeder moved to America for acclaimed films like Barfly (1987) and Reversal of Fortune (1990), for which he received an Academy Award; nomination for Best Director. He then turned to psychological thrillers with Single White Female (1992). More continues to be regarded highly in Europe, where it screened as a Cannes Classic at the 2015 Cannes Film Festival.

Director: Barbet Schroeder
Producer: David Lewis, Schroeder Screenplay: Paul Gegauff, Schroeder
From a story by Schroeder
Cinematography: Nestor Almendros Score: Pink Floyd
Cast: Mimsy Farmer (Estelle Miller), Klaus Grünberg (Stefan Bruckner), Heinz Engelmann (r. Ernesto Wolf), Michel Chanderli (Charlie), Henry Wolf (Henry), Louise Wink (Cathy)

By Frank Miller
More (1969)

More (1969)

"I had imagined this journey as a quest. I finished my studies in May. I wanted to burn all the bridges, all the formulas, and if I got burned, that was all right, too. I wanted to be warm. I wanted the sun and I went after it." --Klaus Grunberg delivering the opening narration from More Like Icarus, the German student, Stefan, at the center of director Barbet Schroeder's 1969 debut feature flies too close to the sun, only to be destroyed. But in More, the "sun" can mean multiple things: the sun-swept island of Ibiza, where much of the action takes place, the mercurial American expatriate Estelle (Mimsy Farmer), whom Stefan follows there, and the fleeting release provided by drugs, an addition into which Estelle leads him. The film follows Stefan (Klaus Grünberg) who decides to drop out after finishing his studies at university. After hitchhiking to Paris and dabbling in burglary, he hooks up with an American girl (Mimsy Farmer) and follows her to Ibiza. Through her relationship to a former Nazi (Heinz Engelmann), he gets involved in the drug culture, which leads to his addiction to heroin. Barbet Schroeder had made his name first as a critic for the film magazine Cahiers du Cinéma and then by producing films for director Eric Rohmer. For his first film, Schroeder turned to current cultural shifts, focusing on the rise of ennui after the student rebellions in Paris in 1968 and the rise of the counter-culture with its emphasis on free love and turning on. The film is far from a social tract, however. Schroeder focuses on drug use not as a social problem to be studied and solved but rather as a part of the culture. He doesn't use camera tricks to capture the feel of a high, good or bad, as had been done in films like The Trip (1967) and Easy Rider (1969). Instead, he shoots the drug use and the characters' reactions to being high straight on, in a near-documentary fashion. This is reinforced by his use of authentic locations in Paris and Ibiza, including his mother's villa by the Mediterranean. Ultimately, the film is more a dissection of a relationship and the personal issues that destroy it. As Schroeder would tell interviewer Noel Simsolo, "If my film is against anything, it is against attachments, illusions, selfishness, alienation. As for myself, I have no compassion for my hero. Someone who destroys himself is very unattractive to me." (Schroeder quoted in Elaine Lennon, "The Mordant Geography of Desire in Barbet Schroeder's More (1969), Off Screen, November 2015) The film's look was provided by Spanish cinematographer Nestor Almendros, who had worked with Schroeder on Rohmer's The Collector (1967) and with Farmer on The Wild Racers (1968), his first foray into U.S. filmmaking. Almendros would become one of the world's most acclaimed cinematographers, winning an Oscar; for Days of Heaven (1978) and working with such legendary directors as François Truffaut (nine films, starting with 1970's The Wild Child), Terrence Malick (Days of Heaven), Mike Nichols (1986's Heartburn) and Martin Scorsese (1989's New York Stories). He and Schroeder would reteam for The Valley (Obscured by Clouds) (1972), /General Idi Amin Dada: A Self Portrait (1974), Maîtresse (1975) and Koko: A Talking Gorilla (1978). For his leads, Schroeder cast German actor Grünberg in his film debut and Farmer. Grunberg would go on to a long career in Europe, most notably in Jirí Weiss' Martha and I (1990). Farmer, who took her stage name from Lewis Carroll's "Jabberwocky," had started in film as a teenager with an uncredited role in Gidget Goes Hawaiian (1961). Her first credited screen role was as James MacArthur's love interest in Spencer's Mountain (1963). In the late 1960s, she appeared in a string of youth exploitation films, including Riot on the Sunset Strip (1967) and The Wild Racers. She traveled to Europe in search of more demanding roles, which she got right off the bat with More, for which she had to embody the character's flirtatiousness, sudden rages and drug-induced states. That was followed by Road to Salina (1970) and Dario Argento's giallo Four Flies on Grey Velvet (1971). She continued working in European films for the next two decades, but left acting in 1991 to focus on art. Since then, she has become an acclaimed sculptor and painter and served on the art department for such films as Charlie and the Chocolate Factory (2005), Guardians of the Galaxy (2014) and Beauty and the Beast (2017). Schroeder enlisted members of the rock band Pink Floyd to create the soundtrack, their first for a motion picture, but insisted he did not want background music. Instead, all of the music comes from on-screen sources. The soundtrack, released on August 9, 1969 in the U.S., would be their first album without founding member Syd Barrett, whom they had kicked out of the group a year earlier. The score combined psychedelic rock with acoustic folk ballads and some experimental instrumentals. On its release, it reached number nine on the UK charts. The band would reunite with Schroeder to score The Valley (Obscured by Clouds) and would provide the memorable score for Michelangelo Antonioni's Zabriskie Point (1970) The film was very successful with European critics and at the overseas box office, even though French film censors forced Schroeder to bleep out the ingredients Grünberg and Farmer discuss while creating their own version of LSD. Critics hailed Schroeder as a major new filmmaker and compared Farmer favorably to Jean Seberg in Breathless (1960). In the U.S., it met with more mixed reactions. Vincent Canby of the New York Times called More a "very beautiful, very romantic film about self-destruction," praising the acting, the directing and Almendros' camera work. He was echoed by other New York reviewers, but the film did not fare as well in other U.S. cities. Although Roger Ebert praised Farmer's "freaky, brittle, and almost neurotically repressed" performance, he found most of the film boring, stating that watching people turn on was far from dramatic. Schroeder moved to America for acclaimed films like Barfly (1987) and Reversal of Fortune (1990), for which he received an Academy Award; nomination for Best Director. He then turned to psychological thrillers with Single White Female (1992). More continues to be regarded highly in Europe, where it screened as a Cannes Classic at the 2015 Cannes Film Festival. Director: Barbet Schroeder Producer: David Lewis, Schroeder Screenplay: Paul Gegauff, Schroeder From a story by Schroeder Cinematography: Nestor Almendros Score: Pink Floyd Cast: Mimsy Farmer (Estelle Miller), Klaus Grünberg (Stefan Bruckner), Heinz Engelmann (r. Ernesto Wolf), Michel Chanderli (Charlie), Henry Wolf (Henry), Louise Wink (Cathy) By Frank Miller

Barbet Schroeder's More on DVD


Some reviews of Barbet Schroeder's first film make it appear a brainless story of young people overdosing on sex and drugs to the accompaniment of Pink Floyd music. That assessment couldn't be farther from the truth. More is perhaps the first 'turned-on' movie to give a truly accurate picture of what the 60s drug culture did to people, a couple of years before American pictures found the subject in films like Panic in Needle Park.

Synopsis: German hitchhiker Stefan Brückner (Klaus Grünberg) hooks up with petty thief and fellow vagabond Charlie (Michel Chanderli) in Paris. He also meets Estelle Miller (Mimsy Farmer), a carefree but mysterious girl who tells Stefan he can meet her on Ibiza, the sunny Spanish island. Stefan arrives to find Estelle in an odd relationship with local big shot Dr. Ernesto Wolf (Heinz Engelmann). Estelle steals some of Wolf's money and the two split for an idyll on the other side of the island, interrupted only by the visit of Cathy (Louise Wink), Estelle's lover. But Stefan discovers that Estelle is interested in heroin, and an experimental try leads to him becoming addicted as well. They shake the habit until Estelle secretly drifts back to Dr. Wolf ... it's in his best interest to see both of these young people under his control.

More is anything but an endorsement of drug use. Stefan is an un-formed drifter who crosses paths with two influences, a petty criminal and a beautiful young American girl who turns out to be a heroin addict. At first it seems that Stefan's attraction to Estelle might save him from criminal arrests and a sorry life, but we soon find out that being a crook would have been the healthier choice.

The amoral Stefan isn't the most likeable protagonist and comes off as something of a blank slate in the first section of the film. When he finally locates Estelle on a supposed island paradise, her personality seems to have changed. Although Estelle likes Stefan, she has no intention of being honest with him.

Stefan can handle the fact that Estelle has sexual relations with a girlfriend. But she's also under the paternalistic guidance/power of Dr. Wolf, an older German businessman who owns a café but is also the island's dope connection. This Stefan cannot abide, as Wolf clearly represents the authority he went on the road to escape.

Estelle eventually finds that that easy way to end Stefan's questions about her activities is to involve him in hard drugs as well. He tries heroin because Estelle claims that she only has one dose left. Stefan has no idea that she regularly renews her supply with Wolf, probably in exchange for sexual favors.

Estelle also steals money from Wolf so the pair can live together in a secluded house. It takes no time at all for Stefan to be as avid a junkie as Estelle; in one rather glorious scene they mix up a wild barbiturate cocktail from whatever's handy in the kitchen, and run out into the sunshine to exalt the sun god and express their joy.

But the joy is for the illusory drug experience. Opiates take their users to a comfortable, ecstatic place, one that easily becomes preferable to existence in the real world. Stefan and Estelle are briefly happy as junkies, but two zonked out individuals are not a real couple and their life together is not a viable relationship.

Klaus Grünberg's performance grows on us as his closed-off character reveals more interesting details. Beneath Stefan's rebel facade is a young man with a background and a culture that his drugged-out lifestyle cannot erase. He works for a while in Dr. Wolf's café, and sings heimat songs with him to entertain the older German tourists. Smuggler-thief Charlie passes through and tries to pull Stefan free of his servitude to Estelle and heroin, but his effort is far too late.

Mimsy Farmer started out in square Hollywood pictures, took a step down to American-International exploitation (Riot on Sunset Strip) and with More graduated into leading roles in Europe. She's nothing short of brilliant as a young woman carefully guarding the secrets of a tawdry lifestyle. She can't afford show her real personality. She may no longer have a complete personality.

For once, an epigram spoken during the film is a perfect fit. Someone speaks of sun worshippers that stared at the sun in hopes of reaching a higher level of enlightenment, only to be rewarded by being struck blind. The irony in More is that Stefan and Estelle identify with the story, even though they have no ambition beyond momentary pleasure. What they relate to is the epigram's sense of oblivion.

Home Vision Entertainment's DVD of More gives us a flat-letterboxed (1.55) transfer of a film that may have been shot on 16mm. It's either that, or prime elements for the film could not be found. Nestor Almendros' natural photography finds attractive images everywhere, especially in a lovemaking scene within some mosquito netting. At one point Estelle injects herself under the tongue, leaving a bloodstain on her lips. To Almendros' camera, it might be the mark of a vampire.

Pink Floyd's music is used intermittently but to excellent effect, mainly at the height of drug experiences. But Schroeder refrains from treating the drug trips subjectively - we stay outside, often watching as the two lovers are reduced to insensate vegetables. More is about the destruction of personalities.

The one extra is a trailer that sells the film as a Pink Floyd freak-out extravaganza. Wheeler Winston Dixon supplies liner notes that chart Schroeder's career and offers insights on More's place as a serious film about the 60s drug scene.

For more information about More, visit Home Vision Entertainment. To order More, go to TCM Shopping.

by Glenn Erickson

Barbet Schroeder's More on DVD

Some reviews of Barbet Schroeder's first film make it appear a brainless story of young people overdosing on sex and drugs to the accompaniment of Pink Floyd music. That assessment couldn't be farther from the truth. More is perhaps the first 'turned-on' movie to give a truly accurate picture of what the 60s drug culture did to people, a couple of years before American pictures found the subject in films like Panic in Needle Park. Synopsis: German hitchhiker Stefan Brückner (Klaus Grünberg) hooks up with petty thief and fellow vagabond Charlie (Michel Chanderli) in Paris. He also meets Estelle Miller (Mimsy Farmer), a carefree but mysterious girl who tells Stefan he can meet her on Ibiza, the sunny Spanish island. Stefan arrives to find Estelle in an odd relationship with local big shot Dr. Ernesto Wolf (Heinz Engelmann). Estelle steals some of Wolf's money and the two split for an idyll on the other side of the island, interrupted only by the visit of Cathy (Louise Wink), Estelle's lover. But Stefan discovers that Estelle is interested in heroin, and an experimental try leads to him becoming addicted as well. They shake the habit until Estelle secretly drifts back to Dr. Wolf ... it's in his best interest to see both of these young people under his control. More is anything but an endorsement of drug use. Stefan is an un-formed drifter who crosses paths with two influences, a petty criminal and a beautiful young American girl who turns out to be a heroin addict. At first it seems that Stefan's attraction to Estelle might save him from criminal arrests and a sorry life, but we soon find out that being a crook would have been the healthier choice. The amoral Stefan isn't the most likeable protagonist and comes off as something of a blank slate in the first section of the film. When he finally locates Estelle on a supposed island paradise, her personality seems to have changed. Although Estelle likes Stefan, she has no intention of being honest with him. Stefan can handle the fact that Estelle has sexual relations with a girlfriend. But she's also under the paternalistic guidance/power of Dr. Wolf, an older German businessman who owns a café but is also the island's dope connection. This Stefan cannot abide, as Wolf clearly represents the authority he went on the road to escape. Estelle eventually finds that that easy way to end Stefan's questions about her activities is to involve him in hard drugs as well. He tries heroin because Estelle claims that she only has one dose left. Stefan has no idea that she regularly renews her supply with Wolf, probably in exchange for sexual favors. Estelle also steals money from Wolf so the pair can live together in a secluded house. It takes no time at all for Stefan to be as avid a junkie as Estelle; in one rather glorious scene they mix up a wild barbiturate cocktail from whatever's handy in the kitchen, and run out into the sunshine to exalt the sun god and express their joy. But the joy is for the illusory drug experience. Opiates take their users to a comfortable, ecstatic place, one that easily becomes preferable to existence in the real world. Stefan and Estelle are briefly happy as junkies, but two zonked out individuals are not a real couple and their life together is not a viable relationship. Klaus Grünberg's performance grows on us as his closed-off character reveals more interesting details. Beneath Stefan's rebel facade is a young man with a background and a culture that his drugged-out lifestyle cannot erase. He works for a while in Dr. Wolf's café, and sings heimat songs with him to entertain the older German tourists. Smuggler-thief Charlie passes through and tries to pull Stefan free of his servitude to Estelle and heroin, but his effort is far too late. Mimsy Farmer started out in square Hollywood pictures, took a step down to American-International exploitation (Riot on Sunset Strip) and with More graduated into leading roles in Europe. She's nothing short of brilliant as a young woman carefully guarding the secrets of a tawdry lifestyle. She can't afford show her real personality. She may no longer have a complete personality. For once, an epigram spoken during the film is a perfect fit. Someone speaks of sun worshippers that stared at the sun in hopes of reaching a higher level of enlightenment, only to be rewarded by being struck blind. The irony in More is that Stefan and Estelle identify with the story, even though they have no ambition beyond momentary pleasure. What they relate to is the epigram's sense of oblivion. Home Vision Entertainment's DVD of More gives us a flat-letterboxed (1.55) transfer of a film that may have been shot on 16mm. It's either that, or prime elements for the film could not be found. Nestor Almendros' natural photography finds attractive images everywhere, especially in a lovemaking scene within some mosquito netting. At one point Estelle injects herself under the tongue, leaving a bloodstain on her lips. To Almendros' camera, it might be the mark of a vampire. Pink Floyd's music is used intermittently but to excellent effect, mainly at the height of drug experiences. But Schroeder refrains from treating the drug trips subjectively - we stay outside, often watching as the two lovers are reduced to insensate vegetables. More is about the destruction of personalities. The one extra is a trailer that sells the film as a Pink Floyd freak-out extravaganza. Wheeler Winston Dixon supplies liner notes that chart Schroeder's career and offers insights on More's place as a serious film about the 60s drug scene. For more information about More, visit Home Vision Entertainment. To order More, go to TCM Shopping. by Glenn Erickson

Quotes

Trivia

Notes

Filmed in Ibiza and Paris; original running time: 120 min.

Miscellaneous Notes

Released in United States Winter January 1, 1969

Released in United States August 1969

Released in United States on Video June 26, 1991

Film marks Barbet Schroeder's directorial debut.

Released in United States Winter January 1, 1969

Released in United States August 1969

Released in United States on Video June 26, 1991