![]() ![]() The Velvets - Reed and fellow guitarist Sterling Morrison, who met at Syracuse University, multi-instrumentalist and classically trained Cale, Morrison’s childhood friend, drummer Maureen “Moe” Tucker, and later, when Warhol got the idea they needed a sex symbol out front, Nico ( Christa Päffgen) who was in Fellini’s “La Dolce Vita” - are heard and seen as they’re tracked through a surprisingly long and depressingly downhill career. The film doesn’t dwell on drugs, barely touches on them in fact.īut we see footage of what Andy Warhol’s “Factory” was like, and hear ringing endorsements of how this artists’ coop/workspace “was all about the work,” the way the painter, film and music impresario pushed those he invited there, including Reed. You have to know, or look up his life story to learn about his abuse at the hands of a music teacher and Anglican priest. #The velvet underground movie tv#There’s nothing of Reed himself talking about his sexuality.Ĭale is first seen in an appearance on the 1960s TV quiz show “I’ve Got a Secret,” where the Welshman’s 18 hour long performance of a piano piece by an avant-garde composer he knew is puzzled over, respectfully acknowledged and lightly ridiculed by the program’s panel.Ĭale’s brief discussion of his childhood mentions how he “got taken advantage of” as a child. We hear from Reed about his first interest in music, listening to “The Diablos, The Jesters, The Paragons, doo-wop, rockabilly,” and from childhood friends and Reed’s sister Merrill about his sexual curiosity, performing at New York’s Hayloft gay bar as a teen. We see the cover of Michael Leigh’s scandalized 1963 book “The Velvet Underground,” an exploration of “paraphilia,” that the band took as its name - eventually. Haynes “shows” us rather than “tells” us a lot of the basics. Fans, relatives and others paint a picture of a famously-experimental band that (with Warhol) invented the ’60s version of “multi-media” musical performance and influenced generations that came after them. That and old interviews with members no longer living and fresh, fond and sometimes blunt takes on why they matter from surviving members Cale and Maureen Tucker. So what Haynes delivers is a lovely, warm and impressionistic sketch of the band - montages of images and archival news, interviews, “Factory” and concert footage to set the scene and place the Velvets within their time. Haynes figures if you show up for it (Apple TV+ has it), you already know a little something about the highly-influential/legendarily “unsuccessful” 1960s and early-70s band fronted by Lou Reed and John Cale, produced by Andy Warhol and sometimes featuring the imposing film starlet, model and singer Nico, “the blonde iceberg in the middle of the stage” filled with musicians and their avant-garde rock. It does not store any personal data.Todd Haynes, director of the Dylan-of-Many-Faces biography “I’m and Not There” and glam/punk appreciation “Velvet Goldmine,” isn’t interested in spoon-feeding anybody a history of “The Velvet Underground.” The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". ![]() The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. ![]() Necessary cookies are absolutely essential for the website to function properly. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |