July 31 - August 28,  2002

American Cinematheque Presents...

Andy Warhol Does Hollywood

Series Curated by Bruce Hainley.

Coordinated for the American Cinematheque by Gwen Deglise.

Special Thanks to: Caroline Blackburn, Suzanne Isken, Trisha Tachibana/MOCA; Todd Wiener/UCLA FILM & TELEVISION ARCHIVE; The Museum of Modern Art; Marilee Womack/WARNER BROS. CLASSICS; Paul Ginsburg/UNIVERSAL FOCUS; Callie Angell/ANDY WARHOL FILM PROJECT; Susan Pile; Ann Goodman/CRITERION PICTURES; Mike Thomas/RIALTO PICTURES; Richard Hassanein; Duke Lim/TODD AO; Simon Hailer/CARLTON INTERNATIONAL; William E. Jones.

MOCA Members get $2 off the general admission ticket price with valid MOCA membership card.

Tickets available 30 days in advance. Tickets are $8 general admission unless noted otherwise.

Home

SITE MAP

SCHEDULE (by series)

SCHEDULE (by date)

MEMBERSHIP

TICKETS/DIRECTIONS

EGYPTIAN THEATRE

FOREVER HOLLYWOOD

MOVING PICTURE BALL

PRESS

Sold out programs will be indicated here if sold out 24 hours in advance of screening date.

Presented in conjunction with MOCA – The Museum of Contemporary Art

To coincide with the landmark Warhol exhibit at MOCA, this film series explores Warhol's meditation on stars, film genres, and celebrity culture, from Shirley Temple to Marlon Brando; from Westerns to melodrama to sex. These unique film pairings offer an opportunity to see Warhol learning from -- and thinking about -- Hollywood in action.

One way to approach Warhol’s cinema is to think about Andy going to the movies and doing Hollywood the way Debbie did Dallas. Warhol’s movies show Andy happy: happy frolicking with Dennis Hopper as Tarzan; happy wrapping a film session with Edie Sedgwick in KITCHEN; happy vicariously inhabiting the body of one of his many "doubles," Taylor Mead, flirting with hunky Tom Hompertz and cosmic sexpot Joe Dallesandro in LONESOME COWBOYS. Andy wrote, famously: "If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it." This series presents some Warholian surface, which has yet to be mapped and is endless as desire.

 

Wednesday, July 31 - 7:30 PM

Actor Jack Larsen to Introduce the Film!

TARZAN AND JANE REGAINED ... SORT OF, 1963, 80 min., sound. Dir. Andy Warhol. Warhol made his first sound film during a two-week sojourn in Los Angeles in 1963. A mix of black and white and color film stocks, an array of performers from actor Dennis Hopper to artists Claes and Pat Oldenburg, and sequences shot at the Beverly Hills Hotel and the Watts Towers, make this a daffy start for considering Andy in LA. Dennis Hopper will appear subject to availability.

 

Wednesday, July 31 – 9:00 PM [FREE PROGRAM]

L.A. Premiere! "ANDY WARHOL," 1972, Carlton International, 47 min. Dir. William Verity. Produced for British television by celebrated photographer David Bailey, this rarely-seen documentary presents Andy and many of his cohorts in their early 1970’s prime. [There is no admission to this screening – tickets on a first come, first served basis.]

 

Thursday, August 1 - 7:30 PM

BLOW JOB, 1964, 36 min., silent. Dir. Andy Warhol. His camera aimed in close-up at the head of a handsome man, Warhol documents only the character's changing facial expressions. What’s expressed looks like pain, sexual gratification, and beatification, but it could all be just performance. BLOW JOB’s title suggests pornography, but it’s what can’t be seen (what’s fantasized) which triggers the erotic. Absence makes the hard-on grow fonder.

KISS, 1963-64, 48 min, silent. Dir. Andy Warhol. In KISS, the bright young things perform everything from dainty pecks to serious moshing. Shown at the proper silent speed, the actions become simultaneously mesmerizing, monstrous, and revolutionary.

 

Friday, August 2 – 7:00 PM

Double Screen! LUPE, 1965, 36 min, sound. Dir. Andy Warhol. Lupe Velez, aka the "Mexican Spitfire," became one of the first Latin American stars in Hollywood, married Johnny "Tarzan" Weissmuller, and had her share of glamour before her elaborately staged suicide in 1944. For one of his final films with Edie Sedgwick, displaying all her delicate, tranced-out beauty, Warhol cast his prettiest double as La Lupe on her last lonely night, his uncanny double-projection somehow mirroring Sedgwick’s own sad and too-soon demise.

THE GIRL FROM MEXICO, 1939, Warner Bros., 69 min, Dir. Leslie Goodwins. The first of the "Mexican Spitfire" movies shows real-life Lupe in all her glory, in a frantic screwball comedy of an American advertising man looking for the perfect star for his radio show.

 

Friday, August 2 - 9:30 pm

POOR LITTLE RICH GIRL, 1965, 66 min, sound. Dir. Andy Warhol. One of Warhol’s most poignant and loving portraits of Edie Segwick. In the 1936 POOR LITTLE RICH GIRL, eight year old Shirley Temple flees her rich family to join a vaudeville troupe, as Warhol scholar Callie Angell writes: "… a situation not unlike that of Edie herself, who had fled her tragic, wealthy family in California to join Warhol’s underground art world. Shirley Temple was a childhood idol of Warhol’s; he had once written away for an autographed photograph of her, which became his most prized possession."

POOR LITTLE RICH GIRL, 1936, 20th Century Fox (Criterion), 72 min. Dir. Irving Cummings. Absolutely delightful Hollywood musical with Temple as a mischievous runaway who hooks up with barnstorming performers Jack Haley and Alice Faye. Co-starring the lovely Gloria Stuart.

 

Saturday, August 3 -- 5:00 PM

HEDY, 1966, 66 min, sound. Dir. Andy Warhol. With the great drag queen/performance artist Mario Montez as Hedy Lamarr, leading a cast including Mary Woronov, Ingrid Superstar and Jack Smith, (FLAMING CREATURES), Warhol’s HEDY, scripted by Ronald Tavel, opens with a surreal facelift sequence, proceeds with Ms. Lamarr’s kleptomania and arrest, and closes with the star on trial against the accusations of her five former husbands.

EXPERIMENT PERILOUS, 1944, RKO (Warners), 91 min. Director Jacques Tourneur’s rarely-screened Gothic thriller pivots on the strange fortunes of Allida Bedereau (Hedy Lamarr) and her painted portrait. With George Brent, Paul Lukas.

 

Saturday, August 3 -- 8:45 PM

Actress Viva & Actor Louis Waldon In Person!!

LONESOME COWBOYS, 1967-68, 109 min., sound. Dir. Andy Warhol. Eric Emerson gives Joe Dallesandro ballet lessons to firm up his seat, Louis Waldon plays big brother, Viva rants, Taylor Mead nurses, Francis Francine vamps as a cross-dressing sheriff, and golden boy surfer Tom Hompertz makes his dazzling but almost mute debut as Julian, the beauty corralling everyone’s desire in this zany Wild West take on Romeo and Juliet ...er, Julian. Giddyap, little ponies!

HORSE, 1965, 100 min., sound. Dir. by Andy Warhol. Ronald Tavel’s script for HORSE toys with the implicit narratives of Hollywood Westerns -- say, providing backstory for Victor Mature’s hard-drinking "Doc" Holliday in MY DARLING CLEMENTINE. Tavel considers HORSE his best collaboration with Warhol and the louche and languorous flick "a genuine Western, showing what genuinely went on." An all-male posse including Gregory Battcock, Tosh Carillo, Larry Latreille, and Dan Cassidy, hangs out and horses around. Viva & Actor Louis Waldon (LONESOME COWBOYS) & Viva to introduce screening.

 

Sunday, August 4 – 4:00 PM

KITCHEN, 1965, 66 min., sound. Dir. Andy Warhol. One of the central themes of Warhol’s cinema is the blurring of performing, acting, and being -- in other words, the sliding scale between the fake and the real. In KITCHEN, sneezes are and aren’t sneezes; scripts are picked up and then ignored. The scenario ends before the second reel, so Warhol joins Edie Sedgwick, Roger Trudeau, Rene Ricard and photographer David McCabe for some fun.

BEAUTY No. 2, 1965, 66 min., sound. Dir. Andy Warhol. BEAUTY No. 2 plants Edie Sedgwick on a bed seducing (seduced by?) Gino Piserchio, while a Doberman Pinscher named Horse uses his slack leash to appear and disappear from the frame. Off-screen, Edie’s ex-lover Chuck Wein taunts and betrays. This is performing, acting, and being as a trial -- and everyone (audience, performers, director) is culpable.

 

Sunday, August 4 – 7:00 PM

BIKE BOY, 1967-68, 109 min., sound. Dir. Andy Warhol. Joe Spencer, "bikie" ingenue, leads a guided tour of an oddly skewed sample of New York society, circa 1967. BIKE BOY has a curious relationship to the sexploitation genre of which is it allegedly a part. Only the luminous opening sequence flirts with what was once considered pornography. The rest of the film is even more fascinating: two clerks offer bitchy off-screen commentary amid a profusion of hip menswear; Ingrid Superstar, Brigid Berlin and Anne Wehrer interact outrageously; and Viva, lithe and pale, makes one of the great debuts in the history of cinema.

WHO KILLED TEDDY BEAR?, 1965, 91 min. Sal Mineo’s stalking of swank dancer Juliet Prowse, Elaine Stritch’s drunk lesbian groping, and the Atget-like documentary cruising of Times Square in its glory days (pre-Disneyfication) are only a few of the highlights of director Joseph Cates’ lurid sex-thriller. Actress Jan Murray will introduce the screening.

 

Wednesday, August 7 -- 7:00 PM

Actress Mary Woronov in-Person!

Double Screen!

THE CHELSEA GIRLS, 1966, 210 min, sound. Dir. Andy Warhol. "I put two things on the screen in CHELSEA GIRLS so you could look at one picture if you were bored with the other," Warhol once said. CHELSEA GIRLS isn’t just one of Warhol’s greatest achievements, but one of the great rupturing interventions in the history of cinema -- a double-projection sculptural time bomb, an overwhelming, exhilarating impossibility. Watch for Eric Emerson’s tripped-out gorgeous ode to "grooving" on himself, Ondine's legendary monologue, and Mary Woronov as Hanoi Hannah, a haranguing, sarcastic femme fatale berating her roommates into terrified or bewildered erotic submission. Actress Mary Woronov will NOT be able to appear for discussion as was previously announced.

 

Wednesday, August 14 – 7:30 PM

MY HUSTLER, 1965, 66 min., sound. Dir. Andy Warhol. Blonde beach boy Paul America stars as one of the prime selections offered by "Dial-a-Hustler." And just because Ed Hood’s paid for America’s pleasure doesn’t mean he’s not going to have to compete with an older hustler, the Sugar Plum Fairy (Joe Campbell), a vixen neighbor (Genevieve Charbin), and brainy, loquacious Dodo (Dorothy Dean).

REFLECTIONS IN A GOLDEN EYE, 1967,Warner Bros., 108 min. Director John Huston’s adaptation of Carson McCuller’s weird Southern gothic has National Velvet Elizabeth Taylor all grown up, married to Major Marlon Brando but horsing around with married neighbor Brian Keith. Repressed Brando’s hung up by manliness, particularly in the form of private Robert Forster who likes to ride bareback on Liz’s prize stallion. Co-starring Julie Harris.

 

Wednesday, August 21 -- 7:30 PM

WARHOL

THE CLOSET, 1966, 66 min, sound. Dir. Andy Warhol. Opening with a close-up of a doorknob and a soundtrack of muted, conversant voices, THE CLOSET witnesses the fairy tale encounter between ice-goddess Nico and boy waif Randy Bourscheidt. They discuss whether or not to leave the closet, their likes and dislikes, while Warhol’s wallflower camera examines every bit of the closet’s interior and exterior.

IMITATION OF CHRIST, 1967-69, 85 min., sound. Dir. Andy Warhol. Imagine having Brigid Berlin and Ondine as parents, speed-freaking, tyrannical Andrea "Whips" Feldman (TRASH, HEAT) as a girlfriend and Nico as a prying maid. Cap it off by having Taylor Mead shadow you, and it’s understandable why nodding Patrick Tilden-Close might have needed a little something to take the edge off things.

 

Wednesday, August 28 - 7:30 PM

MORE MILK YVETTE, 1965, 66 min., sound. Dir. Andy Warhol. MORE MILK YVETTE (a.k.a. LANA TURNER) casts drag queen/performance artist Mario Montez as the great Lanita; she sings, orders her maid about, requires many costume changes, interrogates her daughter, Cheryl (played by a sulking, winsome guy), and makes out with her tough lover. It’s Warhol’s imitation of the imitation of life. Fassbinder once wrote: "Sirk has said you can’t make films about something, you can only make films with something, with people, with light, with flowers, with mirrors, with blood, with all these crazy things that make it worthwhile." The words are no less accurate for Warhol.

IMITATION OF LIFE, 1959, Universal, 124 min. Director Douglas Sirk’s final masterpiece stars Lana Turner in arguably her greatest role, as an actress who puts career before the love of daughter Sandra Dee.