The 1979 double album The Wall confirmed that the rest of the Floyd were now merely the backing band to songwriter Roger Waters’ ever more bombastic rock-opera vision. For its cinematic iteration Alan Parker was the natural choice as director: his flair for slick, overbearing visuals takes the story of an ever-more alienated rock singer’s transformation into fascist demagogue and elevates it into a spectacle that matches if not exceeds the overall whatever of it all.