Tag Archives: Joe Dallesandro

Paul Morrissey – Heat AKA Andy Warhol’s Heat (1972)

From Amos Vogel’s Film as a Subversive Art:
A bizarre, yet mild version of “Sunset Boulevard” a la Warhol, with a bevy of voracious females of varying proportions vying for the casual favors of a passive Joe Dallesandro. The dialogue is fresh, simple, funny, as is the relaxed, improvised acting. Fellatio and demythologized sex make their usual appearance, though – for Morrisey – in a curiously reserved manner. While these desperate people and their always-interrupted sex acts are perhaps too small really to engage one’s concern, Morrisey’s talent for a new, weird kind of naturalism (as in his Trash) now seems fully established. Most notably, sex is both ubiquitous and joyless, an almost inevitable chore that can neither be avoided nor really enjoyed. Read More »

Paul Morrissey – Trash AKA Andy Warhol’s Trash (1970)

From Amos Vogel’s Film as a Subversive Art:
A high-camp “love story” of an outrageously handsome heroin junkie and his trash-scavenging girlfriend (played by a female impersonator), this film skips from fellatio to seduction to foot fetishism in its attacks on soap opera myths and Hollywood. A playful perversity, an acceptance of the soft underbelly of bourgeois society, a strange poignancy informs this fable of impotence, drugs, and sex. In the climactic love scene, the hero — remaining impotent — suggests to the lusting “girl” — reclining on a rumpled bed among objects gathered from garbage cans — that she use a beer bottle instead; she does, while he solicitously inquires whether she is coming, then holds her hand and promises to do better next time. In a second scene, she accuses him, in rage, of not even letting her “suck” him off. What with an antiwar Welfare worker revealed as a malignant foot fetishist, assorted females as sexual aggressors against the forever innocent male, drug-fixes or penises casually displayed, the mounting intrusions upon the viewers’ value system mark this as a truly seditious work. Read More »

Paul Morrissey – Blood for Dracula (1974)

Synopsis:
Udo Kier is without a doubt the sickliest of vampires in any director’s interpretation of the Bram Stoker tale. Count Dracula knows that if he fails to drink a required amount of pure virgin’s [pronounced “wirgin’s”] blood, it’s time to move into a permanent coffin. His assistant (Renfield?) suggests that the Count and he pick up his coffin and take a road trip to Italy, where families are known to be particularly religious, and therefore should be an excellent place to search for a virgin bride. They do, only to encounter a family with not one, but FOUR virgins, ready for marriage. The Count discovers one-by-one that the girls are not as pure as they say they are, meanwhile a handsome servant/Communist begins to observe strange behaviour from the girls who do spend the night with the Count. It’s a race for Dracula to discover who’s the real virgin, before he either dies from malnourishment or from the wooden stake of the Communist! Read More »

Serge Gainsbourg – Je t’aime moi non plus AKA I Love You, I Don’t (1976)

Quote:
Serge Gainsbourg’s Je T’Aime Moi Non Plus, the iconic singer-songwriter’s 1976 directorial debut, is on the surface the story of a love triangle. But nothing about this film is conventional. It’s set in an almost postapocalyptic wasteland that’s supposed to be somewhere in the American Midwest, if the signage and the locals’ penchant for fractious roller derbies is to be believed. (There’s even a visual joke that seems to riff on John Boorman’s Deliverance.) Two sides of the triangle are gay garbagemen, while the third is a boyish truck stop waitress. And Gérard Depardieu puts in a glorified cameo as an amorous hayseed who’s just a little too much into his horse. Read More »

Paul Morrissey & Antonio Margheriti – Flesh for Frankenstein (1973)

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? Read More »