The First Professional Footage of Pink Floyd Gets Captured in a 1967 Documentary (and the Band Also Provides the Soundtrack)

British film­mak­er and nov­el­ist Peter White­head has been cred­it­ed with invent­ing the music video with his pro­mo films for the Rolling Stones in the mid-60s. Accord­ing to Ali Cat­ter­all and Simon Wells, authors of Your Face Here, a study of “British Cult Film since the Six­ties,” White­head was “a trust­ed con­fi­dant of the Rolling Stones… and a mem­ber of the inner cir­cle.” In addi­tion to the Stones, White­head had access to a sur­pris­ing num­ber of impor­tant fig­ures in the coun­ter­cul­tur­al scene of 60s Lon­don, includ­ing actors Michael Caine and Julie Christie, artist David Hock­ney, and a just-emerg­ing (and then unknown) psy­che­del­ic band called Pink Floyd. All of these char­ac­ters show up in Whitehead’s 1968 doc­u­men­tary Tonite Let’s All Make Love in Lon­don. Cat­ter­all and Wells describe the film thus:

If any one film tru­ly reveals “Swing­ing Lon­don,” it is Peter White­head­’s lit­tle-seen doc­u­men­tary Tonite Let’s All Make Love In Lon­don (1968). Beau­ti­ful­ly shot, with a Syd Bar­rett-led Pink Floyd sup­ply­ing the sound­track, it is per­haps the only true mas­ter­piece of the peri­od, offer­ing a visu­al­ly cap­ti­vat­ing win­dow on the ‘in’ crowd. Reveal­ing, often very per­son­al inter­views with the era’s prime movers — Michael Caine, Julie Christie, David Hock­ney and Mick Jag­ger — are inter­spersed by daz­zling images of the ‘ded­i­cat­ed fol­low­ers of fash­ion’, patro­n­is­ing the clubs and dis­cothe­ques of the day.

Depart­ing from typ­i­cal doc­u­men­tary styles, Tonite eschews neat nar­ra­tive pack­ag­ing and voice-over, and opts instead for a some­times jar­ring mon­tage of scenes from the Lon­don clubs and streets, rare footage of per­for­mances by the Stones, the Floyd (in one of their first-ever gigs at the UFO club), and oth­ers, and polit­i­cal ral­lies (with Vanes­sa Red­grave singing “Guantanamera”)–all inter­cut with the above­men­tioned inter­views. One of the best of the lat­ter is with a very young and charm­ing David Hock­ney (below), who com­pares Lon­don to Cal­i­for­nia and New York, and debunks ideas about the “swing­ing Lon­don” nightlife (“you need too much mon­ey”).

Over­all, Tonite Let’s All Make Love in Lon­don is a unique por­trait of the era and its ris­ing stars, and White­head­’s visu­al style repli­cates an insider’s per­spec­tive of watch­ing (but not par­tic­i­pat­ing) as a new cul­tur­al moment unfolds. White­head, who “nev­er missed a 60s hap­pen­ing,” has a knack for record­ing such moments. His 1965 Whol­ly Com­mu­nion (see here) cap­tures the spir­it­ed Albert Hall Poet­ry Fes­ti­val in 65 (presided over by doyen Allen Gins­berg), and 1969’s The Fall doc­u­ments some of the most incen­di­ary polit­i­cal action of late-60s New York.

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Relat­ed Con­tent 

Pink Floyd’s Debut on Amer­i­can TV, Restored in Col­or (1967)

Pink Floyd Plays in Venice on a Mas­sive Float­ing Stage in 1989; Forces the May­or & City Coun­cil to Resign

Short Film “Syd Barrett’s First Trip” Reveals the Pink Floyd Founder’s Psy­che­del­ic Exper­i­men­ta­tion (1967)

Pink Floyd’s First Mas­ter­piece: An Audio/Video Explo­ration of the 23-Minute Track, “Echoes” (1971)