Vinyl (1965)

Calificación de los usuarios:

6.2/10   

Director:

Andy Warhol

Writers:

Anthony Burgess (book) (A Clockwork Orange)
Ronald Tavel (writer)

Genre:

Sci-Fi

Plot:

Warhol's strange interpretation of "A Clockwork Orange." Includes Gerard dancing to the Martha and the...

Plot Keywords:

Chair | Long Take | Avant Garde | Dancing | Torture

Comentarios de los usuarios:

Warhol's most movieish movie

Cast

Tosh Carillo	...	The Doctor
Larry Latrae
Gerard Malanga	...	Victor (The Victor)
J.D. McDermott	...	Cop
Ondine	...	Scum Baby
Jacques Potin	...	Extra
Edie Sedgwick

Duración:

70 min

País:

USA

Idioma:

English

Color:

Black and White

Sonido:

Mono

Clasificación:

Australia:R

Movie Connections:

Referenced in Factory Girl (2006)

Soundtrack:

Nowhere to Run

Warhol's most movieish movie

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.