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    Chelsea Girls (1966)

    Posted By: Someonelse
    Chelsea Girls (1966)

    Chelsea Girls (1966)
    A Film By Andy Warhol
    DVDRip | AVI | 608 x 224 | XviD @ cd1 - 854 Kbps; cd2 - 755 Kbps | AC3 2.0 @ 192 Kbps | 03:14:40 | 1,40 Gb
    Language & Subtitles (srt): English
    Genre: Art-house, Drama | USA

    One of the first underground films of the 1960's to achieve a degree of mainstream acceptance (it was an actual hit in New York City, was well-received in Los Angeles and San Francisco, and was banned in Chicago and Boston), Andy Warhol's The Chelsea Girls offered a long, unblinking look into the lives of Warhol's retinue of superstars as they showed off for the camera in their various rooms in the notorious Chelsea Hotel, long a favored New York hangout for writers, artists and bohemians. Along with such notables of the moment as Eric Emerson, Brigid Polk, Ondine, and Mario Montez, one of the girls was Mary Woronov, years before she gained a cult following for her work in Rock 'n' Roll High School and Eating Raoul. The three-and-a-half hour film consisted of two series of images shown simultaneously, though only one soundtrack was audible; in 1995, Warhol associate Paul Morrissey prepared a video edition for broadcast on British television, though the film has yet to be broadcast in the United States and there is no authorized video release as yet in North America.

    IMDB

    "The Chelsea Girls" makes a prime exhibit in the right-wing case against the '60s as the decade that glamorized drugs, sexual liberty and antisocial posturing.

    Of course, it offers just as much evidence that glamour, media and the sexualization of everything are drugs that promote antisocial attitudes, but no one sees political mileage in that at the moment.

    Chelsea Girls (1966)

    At 3 1/2 hours, "The Chelsea Girls" delivers a near overdose of Warhol's insistence on voyeurism as the essence of making and watching films.

    The movie has a flimsy fictional armature: keyhole views into rooms at Manhattan's Chelsea Hotel, an idea that goes back at least to the lurid Weimar period drawings of George Grosz. Several of the 12 reels were shot in the Chelsea Hotel.

    Onscreen are the friends and hangers-on Warhol dubbed "superstars": Ondine, Nico, International Velvet, Gerard Malanga, Ingrid Superstar, Eric Emerson, Mary Woronov (Hanoi Hannah) and others.

    Chelsea Girls (1966)

    "I was the only one who memorized my lines," Woronov complained in a recent memoir, "and no one even noticed."

    One reason: All involved (except Warhol) were drugged most of the time – we see several injections on camera.

    Viewers of "The Chelsea Girls" also will find it hard to notice, or care, whether anyone has or remembers lines because the movie is projected two reels at a time: Images run side by side, sometimes with sound, sometimes not. The shuttling of one's attention between the two projections, between soundtracks or sound and silence, makes a kind of de facto editing.

    In effect, no two viewers see the same movie. Hindsight suggests the influence of John Cage, which pervaded the New York art scene in the early '60s.

    Chelsea Girls (1966)

    Warhol's method was to turn the camera on and let it run until a reel was spent. Whatever happened in that interval was a scene. Scripted or not, the action in "The Chelsea Girls" maintains a pronounced sadomasochistic, and misogynist, tone.

    Projecting two reels side by side was the nearest thing to editing that Warhol did in the films he shot himself. (Everything changed when Paul Morrissey started making movies in Warhol's name.)

    Chelsea Girls (1966)

    "I never liked the idea of picking out certain scenes and pieces of time and putting them together," Warhol said in 1980, "because then it ends up being different from what really happened – it's just not like life. . . . What I liked was chunks of time all together, every real moment. . . . I only wanted to find great people and let them be themselves and talk about what they usually talked about, and I'd film them for a certain length of time and that would be the movie."

    Long stretches of "The Chelsea Girls" define cinematic tedium: Nico trimming her bangs, a bedizened Marie Mencken, looking like Sydney Greenstreet in drag, berating Malanga.

    Chelsea Girls (1966)

    But watching and waiting brought some amazing performances before Warhol's camera: Emerson's stoned monologue, Ondine's violent, sourly comic rant on being pope.

    References are made to the Vietnam War (by Hanoi Hannah) and the "Johnson menstruation," but the tyranny of the camera is the oppression "The Chelsea Girls" records and imposes. No wonder it still seems radical, despite all we have seen onscreen and off since 1966.

    Chelsea Girls (1966)

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