The story of Joe [Dallesandro] and his lover-protector, Holly [Woodlawn], who is something to behold, a comic book Mother Courage who fancies herself as Marlene Dietrich but sounds more ...
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"Heat" is a parody of "Sunset Boulevard." Joey Davis, an unemployed ex-child actor, uses sex to get his landlady, Lydia, to reduce his rent, and then tries to exert his influence on Sally ... See full summary »
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Dalila Di Lazzaro
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An army of gay/nazi bikers make their engines roar and ride the way to pain/pleasure as sexual and sadistic symbols are intercut into the dazing chaos and rhythmic experiences of this ... See full summary »
Lacking a formal narrative, Warhol's art house classic follows various residents of the Chelsea Hotel in 1966 New York City, presented in a split screen with a single audio track in conjunction with one side of screen.
The story of Joe [Dallesandro] and his lover-protector, Holly [Woodlawn], who is something to behold, a comic book Mother Courage who fancies herself as Marlene Dietrich but sounds more like Phil Silvers. Joe and Holly try to make a go of things in their Lower East Side basement, from which Holly goes forth from time to time to cruise the Fillmore East and to scavenge garbage cans, while Joe's journeys are in search of real junk... Trash is true-blue movie-making, funny and vivid.--Vincent Canby, The New York Times. Written and directed by Paul Morrissey, "presented" by Andy Warhol. Written by
The second part a trilogy, Flesh (1968), Trash (1970), and Heat (1972), that was conceived as a reference to the expression "sex, drugs and rock 'n' roll", then a popular sum-up of the 1960s generation. See more »
It don't do anything, Geri.
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This could be taken either as a farce or a serious drama, or an intermingling of the two -- I think that's the best way to watch it, as some scenes are undeniably funny, but to view *all* of this as a joke would suggest that it's a lot more distanced than it is. This is really an ode to and worshipping of nakedness -- real nakedness, blemishes and all -- naked genitals, naked emotions. (What makes the naked emotions so interesting, dealing with most of the performers except Dallesandro, is that they're based on extreme affectation -- "I've got to get some aaaacid" -- but still reveal more than the majority of more "accomplished" acting does.)
It would be easy to look at this as a parading of freaks -- the light bulb credits, and Geri Miller dancing topless to the line, "Mama, look at me now!" But that wouldn't take into account the fact that Miller is nothing if not sincere. The movie works by capturing literal abstractions, if that makes any sense -- out of focus close-ups that work both as simple pieces of formal beauty (Joe's silhouetted face on the street, with a golden background, as he talks to Andrea Feldman), and as insistent closeness.
This is the real reality of drug use -- dirty, pimpled, de-glamorized, and, above all, boring. Morrissey has always worked with satire and seriousness intertwined, so it might be difficult for some people to note the complexity of his work. When Joe begins to rape a woman, it turns into semi-passionate sex. Another woman hears about this and asks him to rape her. Another woman suggests that, since you have sex with strangers, why not family? Morrissey is making fun of all of this at the same time as he's probing into it; this isn't *just* a comedy, it's much more than that -- look at the scene where Jane Forth says to Dallesandro that his complexion is looking a little rough, a statement so intimate, so aware, so personal that it knocks him off guard. (Sometimes it's just sex without any moral judgment, such as when Holly Woodlawn, in a performance that defies categorization, declothes and fondles a young boy.)
It's often absurd, as in the scene where Joe is stoned stupid and naked, and Forth and her husband are bickering as he stumbles around their living room, a scene of bourgeois mockery. When Forth's husband asks him what it's like being a junky, his curiosity almost makes it seem like the junky life is a worthy life -- at least it's individualistic. 9/10
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