cult film freak: MIMSY FARMER BACKED BY PINK FLOYD IN THE DRUG-FUELED 'MORE'

Written by James M. Tate / 8/03/2026 / No comments / barbet schroeder , counter-culture , heinz engelmann , klaus grünberg , michel chanderli , mimsy farmer , pink floyd , sixties

MIMSY FARMER BACKED BY PINK FLOYD IN THE DRUG-FUELED 'MORE'

8/03/2026 | No comment

Mimsy Farmer in MORE Year: 1969 Rating: ***1/2

By the time hitchhiking German college grad Klaus Grünberg crashes a Paris free-for-all and meets breezy American blonde Mimsy Farmer, and the only (and best) Pink Floyd song that's unfortunately not on the soundtrack album MORE is blaring throughout the noisy partying background, he's already sealed his fate... and yet she's not much prettier than the other couch-kicking, pot-smoking hippie-chick harlots...

But the Jean Seberg-haired Farmer (who started out in American drive-in flicks before becoming a European counter-culture star) always had a unique way of becoming more and more beautiful with an enigmatically intriguing, quietly brooding, mesmerizing persona: making director Barbet Schroeder's MORE more of an exotically European art-house celebration of that particularly alluring female than what's really the central male character's descent into petty crime and heavy drug addiction...

Mimsy Farmer in MORE

The first being initially suspenseful and intriguing, and Klaus Grünberg looks just as crooked as experienced pickpocket-mentor Michel Chanderli... but right as their neo-noirish escapades unfold, the lovely White Rabbit leads our grungy anti-hero further into the dead-end Wonderland of Izaba, Spain...

Most of the film taking place within a single island getaway... as The Pink Floyd tracks are either listened to on Farmer's transistor radio (Cymbaline, The Crying Song), heard within certain locales (Izaba Bar, Seabirds), or random soundtrack/source music (Green is the Colour, Cirrus Minor), mellowly backing the ironical juxtaposition of an idyllic paradise harboring a dilapidated drug-filled shanty...

Michel Chanderlir and Klaus Grünberg in MORE

Which paved the way for more intense, urban-set exposes like PANIC AT NEEDLE PARK or BORN TO LOSE, about not only loser junkies but the eclectic crimes that perpetually feed their habit... and while ignited by a plot-centered heroin-theft against Mimsy's mob-backed sugar-daddy, there's no real sense of urgency or lurking dread: other than running out of someone else's stash...

As director Barbet Schroeder's MORE is not only a cautionary tale against spiraling addiction but of Mimsy Farmer's manipulating prowess, and the desperately futile attempts to rein her in — within her own desperately futile territory.