4.8/10
765
17 user 12 critic

Vinyl (1965)

Warhol's strange interpretation of "A Clockwork Orange." Includes Gerard dancing to the Martha and the Vandellas classic "Nowhere to Run" and being tortured by professional sadists.

Director:

Andy Warhol

Writers:

Anthony Burgess (book), Ronald Tavel
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Cast

Credited cast:
Tosh Carillo Tosh Carillo ... The Doctor
Larry Latrae Larry Latrae
Gerard Malanga Gerard Malanga ... Victor
J.D. McDermott J.D. McDermott ... Cop
Ondine Ondine ... Scum Baby
Jacques Potin Jacques Potin ... Extra
Edie Sedgwick
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Storyline

Loosely based on Anthony Burgess's A CLOCKWORK ORANGE, VINYL tells the story of Victor (Gerard Malanga), a "JD", who is betrayed to the police by his sidekick, Scum Baby (Bob Olivo, aka Ondine), and after being tortured by The Doctor (Tosh Carillo), becomes a useful member of society. Written by Wheeler Winston Dixon

Plot Summary | Add Synopsis

Genres:

Sci-Fi

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

4 June 1965 (USA) See more »

Also Known As:

Винил See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono
See full technical specs »
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Did You Know?

Trivia

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. See more »

Connections

Referenced in Factory Girl (2006) See more »

Soundtracks

Tired of Waiting For You
Written by Ray Davies
Performed by The Kinks
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User Reviews

Warhol's most movieish movie
4 April 1999 | by matt-201See all my reviews

Warhol's adaptation (for lack of a more shambling word) of Anthony Burgess' A CLOCKWORK ORANGE begins with a giant closeup of the glowering droog antihero, then moves backward to reveal him narcissistically preening while a crowd of poshy socialites sits blithely by. If this sounds familiar, it's because it's the same opening Stanley Kubrick designed for his version of the book--except that Warhol, working on a sub-Z budget, could only zoom backward, not track.

VINYL is staged in what seems to be a corner of Andy's Factory loft, where a knot of S&M kidnappers, languid dilettantes, plainclothesmen and JD's act out Burgess' fable of a thug's "cure" through mind control. The moralizing of Burgess' novel gets instantly burned away in the wake of a kooky combination of elegant minimalist mise-en-scene, rough-trade heavy breathing, and the usual Warholian giggling at seemingly blithe freaks and damaged goods

Some of the picture lags under the burden of Ronald Tavel's clunky sixties-off-Broadway writing, but the first sequence is sheer amazement--climaxing with the droog Gerard Malanga's motto-delivering monologue (a pinnacle among Warhol is-this-supposed-to-be-bad? scenes) and his nutty chicken dance to Martha and the Vandellas' "Nowhere to Hide"--played all the way through, twice. (The start-up of rendition #2 gets the movie's biggest laugh.)

As always in Warhol, the stasis of the image gives the picture the feeling of a window onto eternity. And the combination of extreme glamour and fox-in-the-henhouse cruelty, framed in compositions that recall heads in a vise, suggests the excitement this work must have had for an ambitious young Bavarian actor-playwright named Rainer Werner Fassbinder.


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