Andy Warhol

Andy Warhol – Sleep (Full Version) (1963)

BW/Silent/5 Hrs 21 Mins at 16fps/4 hrs 45 mins at 18fps
John Giorno

Andy Warhol:

“I could never finally figure out if more things happened in the sixties because there was more awake time for them to happen in (since so many people were on amphetamine), or if people started taking amphetamine because there were so many things to do that they needed to have more awake time to do them in… Seeing everybody so up all the time made me think that sleep was becoming pretty obsolete, so I decided I’d better quickly do a movie of a person sleeping. Sleep was the first movie I made when I got my 16mm Bolex.” Read More »

Andy Warhol – The Nude Restaurant (1967)

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At a New York City restaurant, the patrons are men, nude but for a G-string, waited on by one woman, also clad in a G-string (played by Viva) and a G-bestringed (bestrung?) waiter. Some of the “nude” patrons leave the establishment, their places taken by new customers, also nearly in the buff. There are numerous in-camera jump cuts (known as ‘strobe cuts’) and the camera weaves around a bit. The waiter and waitress move from table to table, talking to the customers. Taylor Mead sits smirking at the fountain, where eventually he partakes in a long conversation with Viva about her Catholic childhood. Viva, the waitress if not the actual person, seemingly is obsessed with the subject of lascivious priests. There is more strobe cutting and at one point, Viva turns to the camera and asks that it be turned off. The camera is turned off and, after an interlude, is turned back on again, after which Viva continues with her monologue. More patrons arrive while others go, perhaps thinking — if not speaking — of Michelangelo. Written by Tummy AuGratin Read More »

Andy Warhol – Lonesome Cowboys (1968)

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An outrageously funny spoof on the Western film, Lonesome Cowboys is a synthesis of Warhol’s sorties into the New York underworld, but much more humorous and with closer adherence to a nonsensical plot. The film was photographed in Arizona, in a ghost town where (somehow) two of Warhol’s superstars are discovered. The incongruous montebanks happen to be Viva, as chic and sarcastic as she was in Bike Boy and resembling a displaced model for Hound and Horn, and Taylor Mead. Mr. Mead is the zany of our time, and when five mysterious cowhands saunter into town, the hilarity commences. The cowboys are an odd assortment, a bit androgynous and city-wise, and they interact with the two in varying attitudes of lust and indifference in set-pieces of inspired film comedy. Often, Lonesome Cowboys reaches the ultimate in surrealist imagery: cowboy-deputy Mead performing the Lupe Velez Twist, his own choreographic distortion; or one of the cowboys performing ballet exercises at the hitching post. Viva’s langorous seduction of the most innocent-looking among the cowboys is actually a satirical comment on sexual artifice. This erotic, sagebrush comedy has its cruel edge, and one feels that Andy Warhol attempts to make some statement about the nature of brotherly love and the impossibility of virtue rewarded in these times of fallen idols. Select just about any Warhol film from the mid-sixties and you’ll find a scandal tucked away. Lonesome Cowboys’s most notable run-in with the law was in Atlanta where it was seized after replacing Gone with the Wind in a mall theater. Read More »

Jed Johnson – Andy Warhol’s Bad (1977)

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synopsis

The final film released under the Andy Warhol moniker (which Warhol executive produced) is a much more polished affair than Flesh, Trash or Heat, but preserves the oddball wit and eccentric flair that made those films so memorable. Directed by Warhol film editor Jed Johnson, Andy Warhol’s Bad focuses on Hazel Aiken, a New York housewife who has to support a houseful of relatives on her own. She pays the bills by operating an electrolysis service out of her home and also by running a murder-for-hire service staffed exclusively by women that specializes in unsavory jobs like killing children and house pets. As a result of her latter job, she has to deal with unwanted attention from Detective Hughes, a corrupt cop who wants her to surrender one of her employees so he can make an arrest. Hazel’s complex life grows even more difficult with the arrival of her nephew J.T. (Perry King), a sleazy layabout who wants to join her hit squad. As the bodies pile up around her, Hazel discovers that her cold-blooded take on capitalism and family values comes with a price she didn’t imagine. Read More »

Andy Warhol – Blue Movie AKA Fuck (1969)

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Summary:

Producer/director/cinematographer Andy Warhol presents an afternoon in a Manhattan apartment where Viva and Louis discuss social issues while lying in bed. Louis makes sexual advances and Viva giggles; they indulge in sexual foreplay and then intercourse. They talk about the Vietnam War, watch television, get dressed, eat, discuss Louis’s unhappy marriage, and finally take a shower, more and more aware of the presence of a camera. After more sex play in and out of the shower, Viva stares at the camera and asks, “Is it on?”

Cast:
Viva … Herself
Louis Waldon … Himself

In German, from German sat TV Read More »

Andy Warhol – The Velvet Underground and Nico (1966)

This Andy Warhol art film was first released in 1966. It is his chronicle of the Velvet Underground jamming while blonde German model Nico sits on a stool. Unlike other Warhol art films, the camera becomes an active participant in the film as it zooms in, pans, and moves chaotically around the performers Lou Reed, John Cale and other Undergrounders. The film is not really edited and includes a scene where the police burst in to stop the noise. Warhol himself also appears briefly Read More »

Andy Warhol – Blow Job (1963)

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Review by Tom Vick (Allmovie.com)

Probably the most notorious of Andy Warhol’s films, Blow Job has been called, jokingly, the longest reaction shot in the history of cinema. In it, an anonymous young man’s face is seen in close-up while he receives fellatio from an unseen partner. The serene voyeurism that runs through Warhols ’60s films reaches a kind of apotheosis in Blow Job. Sexuality, which is a distinct subtext in a number of his films, becomes the subject of this one but, in a typically Warholian joke on pornography, all the “action” occurs off-screen. Read More »