Chelsea Girls

For four odd hours Warhol, using the double-screen technique, declares war against every sensory logic we have grown used to in the movies. Sometimes, the movie just doesn't move. Sometime it does, but at an odd speed. Even if you get used to following two overlapping narratives, some in color while others in B&W, the length of the film might finally get to you. But if you endure - your perception of the art of motion pictures is in for a ride! Depicting the lives of underground characters known from Lou Reed and Velvet Underground songs, this movie is not only cinematic beauty at its extreme, but also a fascinating documentation of an era in which modernist art reached its climax. A must!

It was with both amazement and boredom that I viewed this 210-minute film at a college film society series.

At the end, I left with decidedly mixed emotions, which were close to frustration . . . what a waste, I thought.

What could have been truly a unique masterwork with proper editing turned out to be an uneven "rough draft" in search of some benevolent cutting shears.

Either Paul Morrissey and Andy Warhol didn't have an artistic eye, after all, or just didn't much care about creating a final polished artwork.

On the plus side was the use of two 35 mm. projectors showing two completely different scenarios side by side. It began with just one full size movie--then when the second projector started, words are inadequate to describe the excitement, thrill and rush of it all! What a concept! The viewer began to wonder about the relationship, if any, between the two stories; then dazzled by the mere experience of watching two different, full size movies simultaneously--and finally annoyed by the sheer length, redundancy and weightiness of the whole matter.

If Paul or Andy didn't have the ability to edit their work effectively, for godsake, why didn't they bring in someone who could? Didn't they realize that takes consistently great footage to support three hours and a half hours of sitting in one spot in a theater (or were they two spaced out to notice?).

"Chelsea Girls" ultimately remains a fatally flawed feature that one can get just as much reading about as viewing. A pity, for this was a tragically missed opportunity in cinematic history.

You know when you let your mind drift--especially when under the influence of drugs or alcohol--and you think up some idea that sounds like it would be great? A typical non-genius would consider an idea like that later and think, "well, this sounded like a good idea then but it's just stupid now?" Thankfully, Warhol said to himself, "no, I'm a genius and therefore that was a good idea."

And what was this brilliant idea?

Film a bunch of drug users and couples in various rooms of a hotel then project two films at a time side-by-side, shifting the audio to switch focus.

Doesn't that sound amazingly fresh and cool?

Don't answer yet! You also get:

• randomly twitchy camera work

• quasi-purposeful film speed changes

• having the camera's point-of-interest fail to follow the viewer's desires

• racking the zoom

• sluggish response to bad focus after changing camera positions

• over- and under-exposure

Now how much would you pay?

With your average film you'd get three or four reels, but with this, you get _12 reels!_ Plus, you get sketchy instructions on when to do transitions and change projectors, putting _you in the driver seat!_

Operators are standing by.

In "arts and entertainment", films are usually viewed as being part of the entertainment side. Warhol moves them over to the arts side. This film, like others of Warhol's is "not watched, it's experienced". I think it's brilliant. But I wouldn't get nearly as much pleasure out of watching it if I didn't know who the stars were. So, I suggest you certainly read about the film and Warhol, before you watch this.

I love Andy Warhol´s avant-garde vision of movie making. I especially enjoyed "Chelsea.. This film could be just what 8 1/2 meant for Fellini...