Vincent Canby @ The New York Times, Feb 17, 1972 wrote:
Probably no man, not even Norman Mailer, will ever have the last word on women’s liberation, but until ones does, perhaps the Andy Warhol-Paul Morrissey “Women in Revolt” will do. The movie is called a comedy, but it can be more accurately described as a madcap soap opera whose three manic heroines are played by female impersonators—which may be interpreted as the ultimate put-down of women’s lib, as well as the ultimate endorsement.
More particularly, “Women in Revolt” ( as did “Trash” ) recalls Hollywood movies of the 1930’s and 1940’s, especially those slushy romances in which Alice Faye, Frances Langford and Patsy Kelly compromised everything except their virtue in their pursuit of husbands. Continue reading
In Serbia, Baron Frankenstein lives with the Baroness and their two children. He dreams of a super-race, returning Serbia to its grand connections to ancient Greece. In his laboratory, assisted by Otto, he builds a desirable female body, but needs a male who will be superbody and superlover. He thinks he has found just the right brain to go with a body he’s built, but he’s made an error, taking the head of a gay aesthete. Meanwhile, the Baroness has her lusts, and she fastens on Nicholas, a friend of the dead lad. Can the Baron pull off his grand plan? He brings the two zombies together to mate. Meanwhile, Nicholas tries to free his dead friend. What about the Baron’s children?
Plot Synopsis by Cavett Binion
The second of two horror films shot in a single production term and bearing the name of pop-art icon Andy Warhol (whose participation pretty much ended with the use of his name), this film is slightly superior to its higher-profile predecessor, Andy Warhol’s Frankenstein. Direction is credited to Warhol factory filmmaker Paul Morrissey, though there still exists a very vocal camp who insist that the real credit should go to Italian director Antonio Margheriti. Euro-horror leading man Udo Kier assays the title role, playing the count as a pale, anemic-looking blood junkie with an overwrought accent. Finding the supply of “weer-gin” blood diminishing rapidly in Romania, Dracula is forced to seek a fix in a predominantly Catholic Italian province, where he is certain a few virgins still exist. He travels with his assistant (Arno Juerging) and his coffin-sealed sister to the decrepit, crumbling mansion of the financially-strapped Marquis DiFore (a tour-de-force performance from Bicycle Thief director Vittorio de Sica) who welcomes the affluent Count with open arms, hoping to marry off any one of his four daughters. Dracula clearly has other intentions for the girls… but his plans are rudely thwarted by beefy, socialist handyman Mario (Joe Dallesandro), who has been dutifully divesting the young maidens of their — ahem — virtue, thus tainting their blood and making it unsafe for vampiric consumption. Very unsafe, it turns out — as we are treated to protracted scenes of the death-pale Count vomiting up gallons of blood. Rated “X” at the time of its release (and subsequently re-rated “R” ten years later), this outrageous catalogue of depravity features wildly campy performances, inane dialogue and an outrageous climax. Continue reading
Flesh was filmmaker Paul Morrissey’s first production for Andy Warhol. The story concerns a bisexual hustler (Joe Dallesandro) who does tricks so that he can pay for his wife’s lover’s abortion. The film made headlines when it was confiscated by the police during one of its earliest showings in 1970. Though this event is unlikely to repeat itself, Flesh is still explicit enough to elicit gasps from even the most jaded of underground-film enthusiasts. — Hal Erickson Continue reading