Multiple Maniacs
Blu-ray
1970 / Black and White /96 Min. / 1:66 / Street Date March 21, 2017
Starring: Divine, David Lochary, Mary Vivian Pearce and Mink Stole.
Cinematography: John Waters
Film Editor: John Waters
Written by John Waters
Produced by John Waters
Directed by John Waters
Andy Warhol was nothing if not a multi-media maven. Along with his ubiquitous silkscreens and sculpture, he embraced movie-making beginning as early as 1963 with such literal-minded efforts as Haircut (a haircut) and Taylor Mead’s Ass (one hour of exactly what you think) and pretty much closed shop with 1968’s Lonesome Cowboys, a 109 minute western satire that, of all his films, came closest to approximating a traditional tinseltown production.
Essentially Warhol was parodying the Hollywood studio system, rounding up his acolytes and hangers-on, from supermodels to pushers, and casting them as regular performers in a series of deadpan documentaries. Meanwhile in the wilds of Baltimore, Warhol fan John Waters...
Blu-ray
1970 / Black and White /96 Min. / 1:66 / Street Date March 21, 2017
Starring: Divine, David Lochary, Mary Vivian Pearce and Mink Stole.
Cinematography: John Waters
Film Editor: John Waters
Written by John Waters
Produced by John Waters
Directed by John Waters
Andy Warhol was nothing if not a multi-media maven. Along with his ubiquitous silkscreens and sculpture, he embraced movie-making beginning as early as 1963 with such literal-minded efforts as Haircut (a haircut) and Taylor Mead’s Ass (one hour of exactly what you think) and pretty much closed shop with 1968’s Lonesome Cowboys, a 109 minute western satire that, of all his films, came closest to approximating a traditional tinseltown production.
Essentially Warhol was parodying the Hollywood studio system, rounding up his acolytes and hangers-on, from supermodels to pushers, and casting them as regular performers in a series of deadpan documentaries. Meanwhile in the wilds of Baltimore, Warhol fan John Waters...
- 3/20/2017
- by Charlie Largent
- Trailers from Hell
Taylor Mead, the love child of Bette Davis and Peter Lorre, is one of the truly great comic geniuses of underground films, theater, poetry, cabaret, and cable TV of the Sixties and beyond. He was and is still quite hilarious, even if just stumbling down an East Village Street by himself, his traipse being a sort of Danse Macabre as envisioned by Pee Wee Herman.
An Andy Warhol Superstar, possibly best known for his hysterical “gunslinger” in Lonesome Cowboys, Mead’s brilliance never shined brighter than when he took on the title role in Michael McClure’s outrageous off-off-Broadway play, Spider Rabbit, in which he essayed a bunny who adored eating human brains.
But Taylor didn’t need a lead role to be unforgettable. In Rosa von Praunheim’s documentary Tally Brown New York, the constantly morphing star stole his scenes from Ms. Brown, who was no slouch herself when it came to commanding attention.
An Andy Warhol Superstar, possibly best known for his hysterical “gunslinger” in Lonesome Cowboys, Mead’s brilliance never shined brighter than when he took on the title role in Michael McClure’s outrageous off-off-Broadway play, Spider Rabbit, in which he essayed a bunny who adored eating human brains.
But Taylor didn’t need a lead role to be unforgettable. In Rosa von Praunheim’s documentary Tally Brown New York, the constantly morphing star stole his scenes from Ms. Brown, who was no slouch herself when it came to commanding attention.
- 9/9/2012
- by Brandon Judell
- www.culturecatch.com
Forget everything you think you know about Andy Warhol.
With the brilliant new book The Black Hole of the Camera: The Films of Andy Warhol, author J. J. Murphy obviously focuses in on the artist’s filmmaking career. However, Murphy may just be the first writer to integrate movies such as Couch, Eat, Empire, Lonesome Cowboys and The Chelsea Girls into the totality of Warhol’s artistic pursuits, i.e. silk screening, painting, filmmaking, videomaking, tape recording and photography.
This is, unbelievably, the first time in cinema scholarship such an endeavor has ever been undertaken. That may seem like a shame, particularly given Warhol’s enormous filmic output and his stature as one of the most important artists of the 20th century. Yet, it’s clear it’s been worth the wait for such an astute writer and Warhol film fan like Murphy to finally tackle the topic.
Previously, one...
With the brilliant new book The Black Hole of the Camera: The Films of Andy Warhol, author J. J. Murphy obviously focuses in on the artist’s filmmaking career. However, Murphy may just be the first writer to integrate movies such as Couch, Eat, Empire, Lonesome Cowboys and The Chelsea Girls into the totality of Warhol’s artistic pursuits, i.e. silk screening, painting, filmmaking, videomaking, tape recording and photography.
This is, unbelievably, the first time in cinema scholarship such an endeavor has ever been undertaken. That may seem like a shame, particularly given Warhol’s enormous filmic output and his stature as one of the most important artists of the 20th century. Yet, it’s clear it’s been worth the wait for such an astute writer and Warhol film fan like Murphy to finally tackle the topic.
Previously, one...
- 6/4/2012
- by Mike Everleth
- Underground Film Journal
Elvis Presley: Double Elvis (Ferus Type) Elvis Presley as a cowboy as seen by Andy Warhol. Warhol's Presley Portrait "Double Elvis (Ferus Type)" will be sold to the highest bidder at Sotheby's on May 9. The 1963 portrait, owned by a "private collector," is expected to sell for anywhere between $30-50 million. As per Sotheby's, this is the first "Double Elvis" to appear on the market since 1995. And to think I had no idea there had ever been more than one Elvis despite his myriad imitators. In truth, Warhol painted 22 images of Elvis Presley, nine of which belong to various museum collections. Presley starred in about 30 films, mostly flimsy musicals (e.g., Blue Hawaii, Harum Scarum, Kissin' Cousins) featuring minor leading ladies as his love interest. Exceptions include the Westerns Love Me Tender (1956), with Richard Egan and Debra Paget, and Flaming Star (1960), with Barbara Eden and Dolores del Rio; the...
- 3/15/2012
- by Zac Gille
- Alt Film Guide
Andy Warhol, the insanely influential and iconic multimedia pop artist, was born on Aug. 6, 1928. He would have been 83 today. He passed away on Feb. 22, 1987 following complications due to gall bladder surgery, which really sucks because one gets the feeling that Andy would have totally loved and embraced the Internet and incorporated it into his work.
Warhol made the bulk of his films between 1963 and 1968 when he became notorious for shooting extremely long movies of monotonous tasks. Many of these movies were named after the task performed on camera, including Sleep, Eat, Kiss and Haircut.
But the most notorious of his static films is 1964′s Empire, a non-moving cinematic portrait of the spire of NYC’s Empire State Building that, when screened, runs for 8 hours. Empire was photographed by Jonas Mekas and the filming of which was named Bad Lit: The Journal of Underground Film’s sixth most outrageous moment in underground film history.
Warhol made the bulk of his films between 1963 and 1968 when he became notorious for shooting extremely long movies of monotonous tasks. Many of these movies were named after the task performed on camera, including Sleep, Eat, Kiss and Haircut.
But the most notorious of his static films is 1964′s Empire, a non-moving cinematic portrait of the spire of NYC’s Empire State Building that, when screened, runs for 8 hours. Empire was photographed by Jonas Mekas and the filming of which was named Bad Lit: The Journal of Underground Film’s sixth most outrageous moment in underground film history.
- 8/6/2011
- by Mike Everleth
- Underground Film Journal
Everybody wants Joe. In the Paul Morrissey directed Heat from 1972, Warhol superstar Joe Dallesandro plays an ex-child star who now sleeps around to get by in Hollywood. Among his conquests is an aging actress, Sally (Sylvia Myles), whose glamorous heyday has long passed her by. While she wants to help Joe attain his dreams, her goodwill may be undone by her psychotic, potentially lesbian daughter Jessie (Andrea Feldman).
This was the third film in Morrissey’s so-called “trash trilogy” that also included the films Flesh (1968) and Trash (1970). All three films, plus the Andy Warhol directed Lonesome Cowboys (1968) will be screening as part of a Dallesandro retrospective at the Melbourne Underground Film Festival on August 19-28.
Read More:Movie Trailer: Iconoclast2011 Melbourne Underground Film Festival: Official LineupAndy Warhol Would Have Been 83 TodayMovie Trailer: Come And Get Me...
This was the third film in Morrissey’s so-called “trash trilogy” that also included the films Flesh (1968) and Trash (1970). All three films, plus the Andy Warhol directed Lonesome Cowboys (1968) will be screening as part of a Dallesandro retrospective at the Melbourne Underground Film Festival on August 19-28.
Read More:Movie Trailer: Iconoclast2011 Melbourne Underground Film Festival: Official LineupAndy Warhol Would Have Been 83 TodayMovie Trailer: Come And Get Me...
- 8/3/2011
- by Mike Everleth
- Underground Film Journal
Destroy All Movies! That’s the cheeky theme to the 12th annual Melbourne Underground Film Festival, which will run on August 19-28.
Festival director Richard Wolstencroft lays out his philosophy for this year’s Muff in an excellent Director’s Statement, which is published in the fest’s program guide. He explains his provocative statement as thus:
“Destroy All Movies” can be taken as a query, a question and even a complaint about cinema itself. Most of us love movies. I still do, of course. I am obsessed by them as ever. Making, watching and showing them. But how often do we question our passion in this kind of ontological sense?
In that regard, Muff is a much more focused and scaled back event this year with less films screening, but with a tighter consideration of local talent, as well as a larger, more provocative stance as ever.
Muff has...
Festival director Richard Wolstencroft lays out his philosophy for this year’s Muff in an excellent Director’s Statement, which is published in the fest’s program guide. He explains his provocative statement as thus:
“Destroy All Movies” can be taken as a query, a question and even a complaint about cinema itself. Most of us love movies. I still do, of course. I am obsessed by them as ever. Making, watching and showing them. But how often do we question our passion in this kind of ontological sense?
In that regard, Muff is a much more focused and scaled back event this year with less films screening, but with a tighter consideration of local talent, as well as a larger, more provocative stance as ever.
Muff has...
- 7/29/2011
- by Mike Everleth
- Underground Film Journal
This week’s Absolute Must Read is Robert Koehler’s mind-blowing essay on film criticism and film advocacy. Structured around the offerings of the Los Angeles Film Festival, Koehler really hits on the core problem about film writing on the web. Here’s the key part of the article: “This is ideology, all right: The Ideology of advertisers, the force that most fundamentally drives ‘their’ criticism. It informs movie websites and blogs as much as the papers, by the way, as more and more websites are propelled forward by the hits metric that advertisers gauge in order to determine whether or not they want to invest in a given site.” (For the record: “A criticism of advocacy” is a good description of Bad Lit. And I run tons of ads!)A great “must read” contender is this funny Pittsburgh City Paper article about the FBI releasing — then retracting — their report...
- 6/26/2011
- by Mike Everleth
- Underground Film Journal
Why, in troubled times, does America turn to a hard-drinking, half-blind Us marshal? Frank Rich on how True Grit speaks to the Obama generation as profoundly as it did to Nixon's
A month before John Wayne won the 1969 best actor Oscar for True Grit, Richard Nixon wrote him a "Dear Duke" fan letter from the Oval Office: "I saw it in the Wh with my family and for once we agree with the critics – you were great!" Some four decades later, his rave was echoed by another Republican warrior, this time in praise of the True Grit remake with Jeff Bridges in the role of the old, fat, hard-drinking, half-blind 19th-century Us marshal Rooster Cogburn. Shortly after New Year, Liz Cheney, daughter of former vice-president Dick, told the New York Times that her parents saw True Grit at the Teton theatre in Jackson, Wyoming, and gave it "two thumbs up...
A month before John Wayne won the 1969 best actor Oscar for True Grit, Richard Nixon wrote him a "Dear Duke" fan letter from the Oval Office: "I saw it in the Wh with my family and for once we agree with the critics – you were great!" Some four decades later, his rave was echoed by another Republican warrior, this time in praise of the True Grit remake with Jeff Bridges in the role of the old, fat, hard-drinking, half-blind 19th-century Us marshal Rooster Cogburn. Shortly after New Year, Liz Cheney, daughter of former vice-president Dick, told the New York Times that her parents saw True Grit at the Teton theatre in Jackson, Wyoming, and gave it "two thumbs up...
- 2/7/2011
- The Guardian - Film News
<p><a href="http://feedads.g.doubleclick.net/~a/wDOXQ-jM468lEYPw9-fpK8Jka74/0/da"><img src="http://feedads.g.doubleclick.net/~a/wDOXQ-jM468lEYPw9-fpK8Jka74/0/di" border="0" ismap="true"></img></a><br/> <a href="http://feedads.g.doubleclick.net/~a/wDOXQ-jM468lEYPw9-fpK8Jka74/1/da"><img src="http://feedads.g.doubleclick.net/~a/wDOXQ-jM468lEYPw9-fpK8Jka74/1/di" border="0" ismap="true"></img></a></p><span class="mt-enclosure mt-enclosure-image" style="display: inline;"><img alt="RaroVideo.jpg" src="http://twitchfilm.com/news/RaroVideo.jpg" class="mt-image-left" style="float: left; margin: 0pt 20px 20px 0pt;" width="190" height="158" /></span> <div>Exciting news for fans of international cult film with word that Italy's RaroVideo - one of the finest boutique video labels in the world - is coming to the Us. I have a handful of Raro titles in my collection at the moment and their reputation for delivering the highest quality product, both in terms of transfers and extras, is very well deserved in my opinion. Here's the official announcement:<br /><br /><blockquote><blockquote><blockquote><i>Hailed by cinephiles for expertly restoring rare films by influential filmmakers and publishing them with compelling extras, Italian DVD label RaroVideo announces the company will begin distributing its acclaimed DVDs in the U.S. for the first time ever in February 2011 through E One Entertainment.</i><br /><br /><i>To launch RaroVideo in the U.S., the company will spotlight two powerhouse directors of Italian cinema with Federico Fellini's hard-to-find The Clowns (1970) and The Fernando Di Leo Crime Collection, a four-disc set that...
- 12/2/2010
- Screen Anarchy
The sleepy East Hampton art scene will get a major jolt tomorrow when Eric Firestone opens his gallery with "Warhol, From Dylan to Duchamp," featuring 150 behind-the-scenes photos of Warhol at work. The real showstoppers are two dozen never-before-seen shots of Andy in a 10-gallon hat filming his 1968 wild, gay Western, "Lonesome Cowboys," in the Arizona desert. Expected at the opening are Warhol superstars Taylor Mead, Viva and Jane Holzer, Lou Reed, fashion designer Betsey Johnson, plus lensmen Michael Halsband, Anton Perich and Patrick McMullan.
- 6/4/2010
- NYPost.com
This is the 6th post in a series covering the most outrageous moments in underground film history. You can follow the entire series here.
Film: Empire
Director: Andy Warhol
Year: 1964
During his entire filmmaking career, artist Andy Warhol filmed lots of outrageous stuff. With films with titles like Lonesome Cowboys, Nude Restaurant, Mario Banana, Suicide, Bitch — and worse! — it was clear Warhol liked to shock, enrage and embarrass his audiences.
However, the most outrageous thing Warhol ever filmed? The Empire State Building. One shot. For six hours straight. Well, Warhol filmed the topmost portion of the then world’s tallest building for six hours, but when projected he slowed the film down so that he expected audiences to watch a single, static shot for over eight hours.
According to Warhol assistant Gerard Malanga in the Victor Bockris biography The Life and Death of Andy Warhol, filmmaker John Palmer came up with the concept for Empire.
Film: Empire
Director: Andy Warhol
Year: 1964
During his entire filmmaking career, artist Andy Warhol filmed lots of outrageous stuff. With films with titles like Lonesome Cowboys, Nude Restaurant, Mario Banana, Suicide, Bitch — and worse! — it was clear Warhol liked to shock, enrage and embarrass his audiences.
However, the most outrageous thing Warhol ever filmed? The Empire State Building. One shot. For six hours straight. Well, Warhol filmed the topmost portion of the then world’s tallest building for six hours, but when projected he slowed the film down so that he expected audiences to watch a single, static shot for over eight hours.
According to Warhol assistant Gerard Malanga in the Victor Bockris biography The Life and Death of Andy Warhol, filmmaker John Palmer came up with the concept for Empire.
- 1/27/2010
- by Mike Everleth
- Underground Film Journal
For your post-Christmas enjoyment, here’s a more pagan-y ode to the winter holidays. The song is “Solstice” by Andy Ditzler; a chipper ’60s pop sounding tune about Mr. Wodan, Saturnalia and Sol Invictus; with a music video directed by underground film legend George Kuchar.
The video is bright and chaotic, with Kuchar really focusing in on the “fertility rites” part of the lyrics in the first half. It’s quite the Christmas orgy where the colors and the chick lying on the floor on her back reminds me of the ending of Sins of the Fleshapoids, the classic film directed by George’s twin brother Mike. Then, in the second half during the sacrifice of the bull, the headdress of another actress coupled with the sunny background is reminiscent of the desert-set sequences in Kenneth Anger’s Lucifer Rising.
Overall, it’s a cute, happy, cheery song and video.
The video is bright and chaotic, with Kuchar really focusing in on the “fertility rites” part of the lyrics in the first half. It’s quite the Christmas orgy where the colors and the chick lying on the floor on her back reminds me of the ending of Sins of the Fleshapoids, the classic film directed by George’s twin brother Mike. Then, in the second half during the sacrifice of the bull, the headdress of another actress coupled with the sunny background is reminiscent of the desert-set sequences in Kenneth Anger’s Lucifer Rising.
Overall, it’s a cute, happy, cheery song and video.
- 12/26/2009
- by Mike Everleth
- Underground Film Journal
Start: 06/24/2009 End: 06/27/2009 Timezone: America/Los Angeles Start: 06/24/2009 End: 06/27/2009 Timezone: America/Los Angeles If you're in Los Angeles, catch a crapload of films by legendary Varda June 24-27th 2009! A gifted and outspoken feminist and one of the most acclaimed directors anywhere in the world, Agnès Varda could be considered the prototype of today's independent filmmaker. Varda is a survivor, a stubborn and patient observer of her time and her people, like the pop singer in Cleo from 5 to 7, the lovers in Le Bonheur or the drifter in Vagabond. "I have fought so much since I started ... for something that comes from emotion, from visual emotion, sound emotion, feeling, and finding a shape for that," Varda has said...
Varda directed her first feature, La Pointe Courte, in 1954, with no formal training in filmmaking. The movie has often been identified as the film that started the French New Wave ("and a famous flop,...
Varda directed her first feature, La Pointe Courte, in 1954, with no formal training in filmmaking. The movie has often been identified as the film that started the French New Wave ("and a famous flop,...
- 6/18/2009
- by Superheidi
- Planet Fury
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