Ronald Tavel's THE LIFE OF JUANITA CASTRO is one of Andy Warhol's triumphs as a filmmaker. A playwright (Tavel himself) taunts a number of actors into improvising a truly ridiculous but ...
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At a New York City restaurant, the patrons are men, nude but for a G-string, waited on by one woman, also clad in a G-string (played by Viva) and a G-bestringed (bestrung?) waiter. Some of ... 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.
Originally a twenty five hour film made up of shorter film segments. It consists of 83 reels each lasting approximately 33 minutes. A short story odyssey of film designed to be shown with two projectors playing simultaneously.
Viva and Taylor Mead are a married couple renting an extra beach-house to a group of surfers sent to them by a Mr. Morrissey of La Jolla Realty. Their daughter, Ingrid Superstar, is ... See full summary »
Ronald Tavel's THE LIFE OF JUANITA CASTRO is one of Andy Warhol's triumphs as a filmmaker. A playwright (Tavel himself) taunts a number of actors into improvising a truly ridiculous but subtlely meaningful meditation on Fidel Castro and his family, at a time when the revolution was bringing back disquieting stories of executions and imprisonments and, particularly, virulent hatred and torture of homosexuals in Castro's Marxist paradise. Hilarious as JUANITA is, it remains a history lesson wherein fascism itself is on display and the audience is encouraged to laugh---but with some discomfort.
A satire on the Cuban Revolution as seen through the eyes of Castro's sister.
The Team of Ronald Tavel and Andy Warhol devised to turn out movies prodigiously at the breakneck speed of one or two features per month. The inspiration for Juanita Castro, (a satire on the Cuban Revolution as seen through the eyes of Fidel Castro's sister) came easily from a variety of contemporary sources, but mostly from an article in Life magazine. Before shooting Ronald Tavel aranged three rows of seats for the actors, then he and Warhol set up the camera in front of them, not satisfied with it he moved it of to the side and placed a lamp stand where the camera was and told the actors to address the lamp stand. The dialogue is read out to the cast, then the cast recites what was said as a sort of a verbal card cue, meanwhile the camera rolls capturing everything. At the end when Juanita is ordered to stand up and address the camera she steps out of veiw of the camera and talks to the lampstand. Although Edie Sedgewick is not credited in this film, she is off ot the side and can be seen breifly.
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