Multiple Maniacs
Blu-ray
1970 / Black and White /96 Min. / 1:66 / Street Date March 21, 2017
Starring: Divine, David Lochary, Mary Vivian Pearce and Mink Stole.
Cinematography: John Waters
Film Editor: John Waters
Written by John Waters
Produced by John Waters
Directed by John Waters
Andy Warhol was nothing if not a multi-media maven. Along with his ubiquitous silkscreens and sculpture, he embraced movie-making beginning as early as 1963 with such literal-minded efforts as Haircut (a haircut) and Taylor Mead’s Ass (one hour of exactly what you think) and pretty much closed shop with 1968’s Lonesome Cowboys, a 109 minute western satire that, of all his films, came closest to approximating a traditional tinseltown production.
Essentially Warhol was parodying the Hollywood studio system, rounding up his acolytes and hangers-on, from supermodels to pushers, and casting them as regular performers in a series of deadpan documentaries. Meanwhile in the wilds of Baltimore, Warhol fan John Waters...
Blu-ray
1970 / Black and White /96 Min. / 1:66 / Street Date March 21, 2017
Starring: Divine, David Lochary, Mary Vivian Pearce and Mink Stole.
Cinematography: John Waters
Film Editor: John Waters
Written by John Waters
Produced by John Waters
Directed by John Waters
Andy Warhol was nothing if not a multi-media maven. Along with his ubiquitous silkscreens and sculpture, he embraced movie-making beginning as early as 1963 with such literal-minded efforts as Haircut (a haircut) and Taylor Mead’s Ass (one hour of exactly what you think) and pretty much closed shop with 1968’s Lonesome Cowboys, a 109 minute western satire that, of all his films, came closest to approximating a traditional tinseltown production.
Essentially Warhol was parodying the Hollywood studio system, rounding up his acolytes and hangers-on, from supermodels to pushers, and casting them as regular performers in a series of deadpan documentaries. Meanwhile in the wilds of Baltimore, Warhol fan John Waters...
- 3/20/2017
- by Charlie Largent
- Trailers from Hell
Sidney And The Sixties: Real-time 1957-1966
Throughout the 1950s, Hollywood’s relationship with television was fraught: TV was a hated rival but also a source of cheap talent and material, as in the case of the small-scale Marty (1955), which won the Best Picture Oscar. These contradictions were well represented by the apparently “televisual” 12 Angry Men (1957), which began life as a teleplay concerning a jury with a lone holdout who must, and eventually does, convince his fellow jurors of the defendant’s innocence. Its writer, Reginald Rose, persuaded one of Hollywood’s biggest stars, Henry Fonda, to become a first-time producer of the film version. Fonda and Rose took basement-low salaries in favor of future points, and hired a TV director, Sidney Lumet, for next to nothing because Lumet wanted a first feature credit. Technically, there’s an opening bit on the courtroom steps that keeps this from being a true real-time film,...
Throughout the 1950s, Hollywood’s relationship with television was fraught: TV was a hated rival but also a source of cheap talent and material, as in the case of the small-scale Marty (1955), which won the Best Picture Oscar. These contradictions were well represented by the apparently “televisual” 12 Angry Men (1957), which began life as a teleplay concerning a jury with a lone holdout who must, and eventually does, convince his fellow jurors of the defendant’s innocence. Its writer, Reginald Rose, persuaded one of Hollywood’s biggest stars, Henry Fonda, to become a first-time producer of the film version. Fonda and Rose took basement-low salaries in favor of future points, and hired a TV director, Sidney Lumet, for next to nothing because Lumet wanted a first feature credit. Technically, there’s an opening bit on the courtroom steps that keeps this from being a true real-time film,...
- 10/18/2014
- by Daniel Smith-Rowsey
- SoundOnSight
Forget everything you think you know about Andy Warhol.
With the brilliant new book The Black Hole of the Camera: The Films of Andy Warhol, author J. J. Murphy obviously focuses in on the artist’s filmmaking career. However, Murphy may just be the first writer to integrate movies such as Couch, Eat, Empire, Lonesome Cowboys and The Chelsea Girls into the totality of Warhol’s artistic pursuits, i.e. silk screening, painting, filmmaking, videomaking, tape recording and photography.
This is, unbelievably, the first time in cinema scholarship such an endeavor has ever been undertaken. That may seem like a shame, particularly given Warhol’s enormous filmic output and his stature as one of the most important artists of the 20th century. Yet, it’s clear it’s been worth the wait for such an astute writer and Warhol film fan like Murphy to finally tackle the topic.
Previously, one...
With the brilliant new book The Black Hole of the Camera: The Films of Andy Warhol, author J. J. Murphy obviously focuses in on the artist’s filmmaking career. However, Murphy may just be the first writer to integrate movies such as Couch, Eat, Empire, Lonesome Cowboys and The Chelsea Girls into the totality of Warhol’s artistic pursuits, i.e. silk screening, painting, filmmaking, videomaking, tape recording and photography.
This is, unbelievably, the first time in cinema scholarship such an endeavor has ever been undertaken. That may seem like a shame, particularly given Warhol’s enormous filmic output and his stature as one of the most important artists of the 20th century. Yet, it’s clear it’s been worth the wait for such an astute writer and Warhol film fan like Murphy to finally tackle the topic.
Previously, one...
- 6/4/2012
- by Mike Everleth
- Underground Film Journal
Andy Warhol, the insanely influential and iconic multimedia pop artist, was born on Aug. 6, 1928. He would have been 83 today. He passed away on Feb. 22, 1987 following complications due to gall bladder surgery, which really sucks because one gets the feeling that Andy would have totally loved and embraced the Internet and incorporated it into his work.
Warhol made the bulk of his films between 1963 and 1968 when he became notorious for shooting extremely long movies of monotonous tasks. Many of these movies were named after the task performed on camera, including Sleep, Eat, Kiss and Haircut.
But the most notorious of his static films is 1964′s Empire, a non-moving cinematic portrait of the spire of NYC’s Empire State Building that, when screened, runs for 8 hours. Empire was photographed by Jonas Mekas and the filming of which was named Bad Lit: The Journal of Underground Film’s sixth most outrageous moment in underground film history.
Warhol made the bulk of his films between 1963 and 1968 when he became notorious for shooting extremely long movies of monotonous tasks. Many of these movies were named after the task performed on camera, including Sleep, Eat, Kiss and Haircut.
But the most notorious of his static films is 1964′s Empire, a non-moving cinematic portrait of the spire of NYC’s Empire State Building that, when screened, runs for 8 hours. Empire was photographed by Jonas Mekas and the filming of which was named Bad Lit: The Journal of Underground Film’s sixth most outrageous moment in underground film history.
- 8/6/2011
- by Mike Everleth
- Underground Film Journal
Hollywood icon Dennis Hopper, who passed away on May 29 at the age of 74, had a brief flirtation with the underground film scene of the 1960s mostly due to his personal relationship with the artist Andy Warhol. Embedded above is a homemade video of a screening of the Screen Test that Hopper filmed for Warhol accompanied by a live performance by Dean and Britta. The screening occurred in 2009 in Brooklyn’s Prospect Park.
In the early ’60s, although he had appeared in films like Giant, alongside James Dean, Hopper was primarily a TV actor who also performed in off-Broadway productions in NYC. During this time, the actor very wisely began buying paintings by artists in the then burgeoning Pop Art movement, including work by Pop’s biggest star Andy Warhol.
In addition to painting, Warhol was also beginning to move into filmmaking, first producing very static films such as Sleep, Eat,...
In the early ’60s, although he had appeared in films like Giant, alongside James Dean, Hopper was primarily a TV actor who also performed in off-Broadway productions in NYC. During this time, the actor very wisely began buying paintings by artists in the then burgeoning Pop Art movement, including work by Pop’s biggest star Andy Warhol.
In addition to painting, Warhol was also beginning to move into filmmaking, first producing very static films such as Sleep, Eat,...
- 5/31/2010
- by Mike Everleth
- Underground Film Journal
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