Word: warhols
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...ANDY WARHOL'S FRANKENSTEIN Carries only the master's name. It is signed by his epigone, Paul Morrissey, who was responsible also for Heat, Trash and Flesh. The movie features the usual Morrissey crew: harpies, fag hags, neuters and no-talents clutter up the screen and pop out of it in 3D, which is two more dimensions than they would provide without technological assistance. The prevailing notion is a retooling of Mary Shelley, en cumbered with dismal sex and heaping portions of grue. Limbs, entrails and corpses come whizzing over the heads of the audience, along with various...
Because he has given himself so much time, Eustache can do things much more subtly than he could have in a feature-length film. So many conceptual avant-garde movies have burdened us with their length--like Andy Warhol's eight hours of the Empire State building--that we are accustomed to associate subtlety with economy. But nothing in The Mother and the Whore is superfluous, and sometimes the long stretch of time allows for effects impossible in shorter films. By the time Alexandre brushes past his ex-lover Gilberte in the supermarket, for example, we have forgotten her completely...
Frankenstein. Paul Morrisey's Warhol film is reportedly a gas. Of interest because it's supposed to pile on the violence in such a way that revulsion actually shifts into absurdity and half-delight. Even though the 3-D (those glasses) makes it super-real. Just opened at the Beacon Hill...
...Actress Monique Van Vooren, 41, land the starring role of Frankenstein's sister in Andy Warhol's movie of that name? Says Writer/Director Paul Morrissey, "She has fiendish beauty." Then he described Monique's role. "She gets loved to death. Monique makes love to the monster, and he embraces her so passionately that he crushes her backbone. It's all in 3-D." Dimensions intact, Monique turned up at Rudolf Nureyev's opening night with the National Ballet Company of Canada in Manhattan last week on the arm of Warhol. Hugging them both...
Johns and Rauschenberg, then, and Oldenburg, and some Warhol, a good deal of Lichtenstein and a few pieces by Rosenquist and (surprisingly enough, in view of his calamitous recent work) by Jim Dine: such are the survivors. The losers are more numerous...