Table Of ContentThe Films of Alan Parker,
1976–2003
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The Films of
Alan Parker,
1976–2003
David F. Gonthier, Jr., and
Timothy M. O’Brien
McFarland & Company, Inc., Publishers
Jefferson, North Carolina
LIBRARYOFCONGRESSCATALOGUING-IN-PUBLICATIONDATA
Gonthier, David, author.
The Films of Alan Parker, 1976–2003 / David F. Gonthier, Jr.,
and Timothy M. O’Brien.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-7864-9725-6 (softcover : acid free paper) ♾
ISBN 978-1-4766-1927-9 (ebook)
1. Parker, Alan, 1944–—Criticism and interpretation.
2. Motion picture producers and directors—Great Britain.
I. O’Brien, Timothy M., 1982– author. II. Title.
PN1998.3.P3587G66 2015 791.4302'33092241—dc23 2015023894
BRITISHLIBRARYCATALOGUINGDATAAREAVAILABLE
© 2015 David F. Gonthier, Jr., and Timothy M. O’Brien. All rights reserved
No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopying
or recording, or by any information storage and retrieval system,
without permission in writing from the publisher.
On the cover: Bob Geldof in the 1982 film
Pink Floyd—The Wall(MGM/Photofest)
Printed in the United States of America
McFarland & Company, Inc., Publishers
Box 611, Jefferson, North Carolina 28640
www.mcfarlandpub.com
To my son, Isaac, my best buddy and
fellow viewing companion…
—David F. Gonthier, Jr.
To my late grandmother, Lillian Pelletier.
And also to my mother,
whose light will always lead me home.
—Timothy M. O’Brien
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Acknowledgments
Co-writing this book on the films of Alan Parker has been a completely pleas-
urable and rewarding experience. I want to first thank my c o-a uthor, former student
and good friend Timothy O ’Brien, who has proven that you canindeed make a l ong-
distance professional relationship work. For a majority of this project, Tim and I cor-
responded back and forth via emails, text messages and phone calls from New Hamp-
shire to New York City. When I began thinking about this project in the summer of
2009, I asked Tim if he wanted to c o-w rite this manuscript with me and from that
moment forward we juggled our busy lives and made it happen. This has by far been
the best collaboration I’ve ever had; it was fun and seamless and we were completely
compatible along the way. I am also very grateful for the generous participation of
Sir Alan Parker, the subject of this book, who provided us with a plethora of infor-
mation that has helped us write this first book on his films. It’s been an honor to have
gotten to know him over the years while studying his very impressive and ambitious
canon of films. I also thank my wife, Caron, for all of her dedication, advice, help and
support. Finally, I would like to thank my parents who first exposed me to a film
called Midnight Express, which to this day remains one of my all- time favorites.
—David Gonthier
Firstly, I’d like to thank my co-author David Gonthier. I am honored and grateful
that you came to me with this project (now I get to brag to my snotty academic friends
that I’m getting a book published!). It was an absolute pleasure writing with you, and
I look forward to doing it again in the future.
Many thanks to Pamela Bloom, and to all the librarians and archivists at the
Elmer Holmes Bobst Library. Your help transformed what could have been a chaotic
nightmare into a navigable research process. Thank you.
Thanks also to the extremely helpful staff at Jerry Ohlinger’s Movie Materials in
New York City. Because of your colossally expansive collection of stills and movie
photos, you were literally the one-stop-shop for all the photographs in this book.
Appreciation is also due to the two amazing women I dedicated this book to.
Without them, this book would not have been possible:
Firstly, my grandmother, Lillian Pelletier, who recently passed away, God rest
her soul. Thanks, Grandma, for always doing the crossword puzzles and word searches
with me when I was a kid. When most boys were out subjecting themselves to possible
concussions, and contusions uncounted, you helped me realize that my fascination
with letters and words was not only acceptable, but something to aspire to. It meant
vii
viii Acknowledgments
the world to me, and every time I struggle to write a word, sentence, or thought, I
will ask myself: “What would Grandma think of this?” Love you, Grandma, wherever
you are.
But no one can have a grandmother without a mother, and I also devote this
book to my mother. There’s an old saying: “A Mother knows.” I wholeheartedly
endorse this truism because my mom always knows: she knows when to coddle me,
when to kick my ass, and when to remain silent because she knows I can figure it out
for myself. You’ll always be my candle on the water, Mom.
—Timothy M. O’Brien
Table of Contents
Acknowledgments vii
Introduction by David Gonthier, Jr. 1
1. The Early Life and Career of Alan Parker 11
2. Bugsy Malone, 1976 22
3. Midnight Express, 1978 40
4. Fame, 1980 63
5. Shoot the Moon, 1982 83
6. Pink Floyd—The Wall, 1982 103
7. Birdy, 1984 120
8. Angel Heart, 1987 138
9. Mississippi Burning, 1988 162
10. Come See the Paradise, 1990 183
11. The Commitments, 1991 199
12. The Road to Wellville, 1994 215
13. Evita, 1996 233
14. Angela’s Ashes, 1999 252
15. The Life of David Gale, 2003 269
Conclusion 290
Chapter Notes 295
Bibliography 301
Index 303
ix
