Andy Warhol.Chelsea Girls.1966.DVDRip-ChIcKpEa

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    11/24/2008
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    2009-06-08 00:15:24
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    <pre>******* Andy Warhol&#915;&#199;&#214;s Chelsea Girls (1966) ******* Andy Warhol's epic freak-out to end all freak-outs is somehow both snail-paced &#38; fascinating at the same time. The film consists of little more than straightforward head shots (on split screens---a classic late '60s touch) of a slew of Warhol's self-created &#34;superstars&#34; babbling, whining, cursing, &#38; shrieking. The film comes as 12 separate reels &#915;&#199;&#244; it's a sort of soap opera of the lives of some of Warhol's people that lived at the Chelsea Hotel in the 60's. Although the running order has now become more or less accepted, the original instructions were that the projectionist should choose the sequence and the sound levels for each. Additionally, two projectors are used simultaneously, projecting different reels on opposite sides of the screen. There's not much in the way of narrative. But we develop our own kind of narrative as we link up individuals from different reels. Often they are shown in a different light &#915;&#199;&#244; sometimes literally. Everyone, as in many of Warhol's films, plays themselves &#915;&#199;&#244; or rather a dramatised persona of themselves. An attractive vamp from one black-and-white reel turns out to be a quick-witted transgendered woman when we hear her with the sound turned up in another. Both reels are in black and white but with different co-actors. When we see her in a third reel, in colour, some of the mystery that black-and-white lent has drained away. She seems more human and less mysterious. We make our internal narrative, choosing which reel is a 'flashback.' Which is the 'true' person. I think of how the classic 'vamp' is portrayed in movies, the fetishisation of femininity. And how unconscious we are of cinematic technique. Of course, we also know this movie was banned. Is that shocking enough to keep you in your seat for three hours? Without graphic violence, graphic sex or the usual commercial chicanery? Probably not. If you're new to Warhol's art you might want to get hold of a primer first (I recommend 'The Philosophy of Andy Warhol' available in Penguin: it doesn't 'explain' Warhol but it can help you get inside his head.) If you see this film looking for all the things he's refusing to give you then you probably won't get much out of it. Maddening but exquisite--one of the most beautiful of all American movies. The genius of Warhol as filmmaker was his stubborn insistence--conscious or otherwise--on bringing the principles of portraiture in painting to movies. Warhol understood that the power of the portrait is as psychological as it is technical, and his strategies for eliciting &#34;acting&#34; were as excruciating as they are potent. In his filmed &#34;still lifes&#34; of Edie Sedgwick and Henry Geldzahler he seemed to extract a spiritual radiance through duration and discomfort as if from a syringe, and in &#34;Chelsea Girls&#34; the concentrated sadism of his directing style produces similarly unpredictable, human, extravagant results. Shown with two projectors (one randomly producing sound, the other silent), the film shows three and a half hours of faces--superstars and hangers-on hung out to dry in front of an impassive and directionless camera that, after the maestro's fashion, silently encourages the &#34;performers&#34; to entertain. Some twist in the wind, others outdo all expectations; something palpably human, essential, unprojected is born of all of them. The film is hard going when seen in a theatre, but by the time Warhol gets to the transcendent, almost wordless rhapsody of the final garishly coloured reels, the trek pays off like a sunburst. A 8/10 (Original Mono) V 9/10 Aspect Ratio 1.37:1 Colour / B&#38;W DVD Rip Runtime 1:50:23 (x 2) http://www.imdb.com/title/tt0061465/ ***** PLEASE SEED ***** PLEASE SEED ***** PLEASE SEED ***** PLEASE SEED ***** </pre>
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