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13.03. - 21:30,

15.03. - 21:30,
Cinema House

Director:  Peter Neal
Cinematography:  Peter Neal
Producer:  Alan Douglas
Editor(s):  Peter Neal
Screenplay:  Peter Neal
In Bruges
Room Full of Mirrors
Slumdog Millionaire
Somers Town
The Boy in the Striped Pyjamas
Room Full of Mirrors
Room Full of Mirrors
Room Full of Mirrors
United Kingdom , 1996, 99 min, color

Thirty years on, Neal’s contribution to our perception and understanding of Jimi Hendrix ought to be enormous.
“The basic premise for Room Full of Mirrors was to allow Jimi to explain himself. It could so easily have been other people’s ideas of Jimi”, says Peter Neal, who remains passionate about the progressive agendas unleashed during the 60s. After sifting through various documentary sources, he pieced together an autobiographical script, which provides the film with its narrative motor. Though this in-his-own-words approach necessities an actor’s voice, any credibility gap is quickly overcome, and like those other from-the-grave noir classics Double Indemnity and Sunset Boulevard, you are soon gripped and engaged.
While there is no wisecrackin’ Billy Wilder to write the script on this occasion, the quotes have been well-chosen, allowing the facts of Jimi’s life to entwine with more personal thoughts that reveal much about the man’s motivations.
The binding together of music and narrative is simply stunning throughout. This is where so many directors can get hideously unstuck; thankfully, Neal draws from the full range of Hendrix’s musical palette and is on the mark almost every time. Any film biography of Jimi Hendrix that announces itself with a stunning unreleased take of “Voodoo Chile”, with all its portents (“Well the night I was born, Lord I swear the moon turned a fire red”), is obviously on the right track.
The usual bench-marks (festivals, splits, busts) are secondary to a total immersion in Jimi’s world in this film. And there are very few talking heads in the picture. Instead, Neal’s film offers a tapestry of archive footage (mostly of Jimi and the band, sometimes newsreel extracts to illustrate theme) and stills, which he then manipulates into a spectacular study of Hendrix and his music. It’s such powerful stuff that longtime buffs will have trouble believing that the movie wasn’t somehow sanctioned by Jimi.

Mark Paytress

Peter Neal
British writer, director and cinematographer Peter Neal started his career in the end of 60s. He made a name in cinema with his musical documentaries, presenting some of the world top musicians of 60s and 70s, such as Nat ‘King’ Kole, Jimi Hendrix, Mitch Mitchell and the legendary band ‘Yes’.
1969  Experience
1969  A Way Of Caring
1970  Be Glad For The Song Has No Ending
1973  Yessongs
1973  Glastonbury Fayre
1973  Paradiso
1974  Ain't Misbehavin'
1994  Until We Meet Again
1996  Room Full of Mirrors
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