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& Durkin, S

everything becomes non-defined"): To mescaline, ("colors melt into each other, flares with no sources, play with color temperatures"), and of course, acid: The fidelity with which the filmmakers approached the chemically-altered consciousness of the characters does point out an issue that the film has: The drugged states described in the novel almost demand cinematic treatment in an adaptation, and while they get it, they aren't used in furtherance of much of a story, for the simple reason that while Fear and Loathing has a surfeit of incident, what it doesn't have is much of is a "story" (i.e., there is very little character growth/change etc.) And yet, for a film without a story, there is almost wall-to-wall narration

In the late seventies and early eighties, based on the theme of For the Taste Alone, Gold Leaf projected men as discerning collectors of art and artefacts