Quote:
Cleopatra situates itself in the same relationship to Hollywood as the Warhol/Morrisey films of the
period. It corresponds to Joseph Mankiewicz’s 1963 Cleopatra, starring Elizabeth Taylor and
Richard Burton which Auder’s cast watched and used as the starting point for scene by scene
improvisation Auder drew his cast from Warhol’s ensemble – including not only Viva and Louis
Waldon, but also Taylor Mead, Ondine, Andrea Feldman, Gerard Melanga and others.
The film revels in epic excess like Mankiewicz’s cinematic debacle which succumbed to vast length,
a bloated budget, multiple revisions and a scandal occasioned by the extramarital escapades of its
co-stars.

In Auder’s Cleopatra, Viva is the queen, shrieking with an authority different from the languorous
speech patterns she had perfected in Warhol’s films.
The (newly invented) snowmobile substitutes for horses; the industrial setting of a factory becomes
a showplace of armaments, and the whole Egypt section takes place in upstate New York. The
streets and parks of Rome, where Waldon lived at the time, are the staging ground for his role as
Caesar.

In a wonderful display of Waldon’s charm and skills as an improviser, he begins a dialogue with
local police who are then conscripted into the film as Roman soldiers.
Auder shot the culminating orgy and gladiator scenes in the famous Cinécita film studio in Rome
where Mankiewicz filmed. Due to a fight with his producers, Auder never edited the film which was
lost for many years. It survives as an uncut degraded copy of the original.

Cleopatra (1970) - Michel Auder.mkv

General
Container:  	Matroska
Runtime: 	2 h 6 min
Size: 	2.41 GiB
Video
Codec: 	x264
Resolution: 	1280x720 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	2 500 kb/s
BPP: 	0.109
Audio
#1:  	2.0ch AAC LC @ 235 kb/s

https://nitro.download/view/192F64BC4ACCE9D/Cleopatra_(1970)_-_Michel_Auder.mkv

Language(s):English
Subtitles:None

The post Michel Auder – Cleopatra (1970) first appeared on Cinema of the World.

Quote:
A modern recreation of the legend of Hyppolytus subtly reveals homosexual and incestual motives among its three protagonists as it mingles reality and memory. Particularly noteworthy is the attempt to portray thoughts and flashes of memory by inserting bursts of single-frame, almost subliminal shots into the main sequence which proceeds in different time and space.

706MB | 46m 39s | 690×570 | mkv

https://nitro.download/view/C452AC03F8AFC7F/Twice_a_Man_(1963)_Gregory_Markopoulos.mkv
or
https://fikper.com/kBJoCoObwM/Twice_a_Man_(1963)_Gregory_Markopoulos.mkv

Language:English
Subtitles:None

The post Gregory J. Markopoulos – Twice a Man (1963) first appeared on Cinema of the World.

This Andy Warhol art film was first released in 1966. It is his chronicle of the Velvet Underground jamming while blonde German model Nico sits on a stool. Unlike other Warhol art films, the camera becomes an active participant in the film as it zooms in, pans, and moves chaotically around the performers Lou Reed, John Cale and other Undergrounders. The film is not really edited and includes a scene where the police burst in to stop the noise. Warhol himself also appears briefly

700MB | 1:04:15 | 656×496 | avi

https://nitro.download/view/78A1074D595A5D2/The.Velvet.Underground.and.Nico.1966.DVDRip.XviD.avi

Language(s):English
Subtitles:None

The post Andy Warhol – The Velvet Underground and Nico (1966) first appeared on Cinema of the World.

Will Sloan, UltraDogme.com wrote:
It’s cliché to observe that Andy Warhol’s filmography resembles the evolution of cinema itself. Warhol begins, as did Edison and Lumière, with silent films that invite us to wonder at a single visual idea (Sleep, Kiss, Eat). Quickly he introduced sound, color, movie stars, and more conventional visual grammar until finally arriving at Andy Warhol’s Bad (1976), which is so close to a “real movie” that Warhol himself had barely anything to do with it. Warhol made Vinyl (1965) at around the midpoint of his stylistic evolution, after his incorporation of sound but before Paul Morrissey’s domesticating influence. I like much of Warhol’s cinema on both sides of this dividing line, but Vinyl for me represents a beautiful moment when the evolution broke down. What if, after cinema’s birth, the medium had developed an entirely different visual language?

This is a barer-than-bare-bones adaptation of A Clockwork Orange that, for its first 49 minutes (punctuated by a reel change at minute 32) unfolds within one dense, inky-black frame. The film begins with a tight close-up of Gerard Malanga’s face before the camera pulls back to reveal him lifting weights at the center of a crowded composition. Malanga is “Victor” (the Alex character), who exclaims that he is a juvenile delinquent and dances to the Vandellas’ “Nowhere to Run.” Seated on the right of the frame is Edie Sedgwick, who does very little except smoke, drink, and occasionally bob to the music. Seated on the left is J.D. McDermott as a mysterious figure who turns out to be a cop. Behind them, a shifting group of people mill about, occasionally becoming involved in the action. Behind those people is darkness. Vinyl was filmed at Warhol’s Factory, but looks like it’s taking place in a void.

A skeletal version of Burgess’s story unfolds, during which sections of the small frame become distinct geographical spaces. In the center, Malanga gets in a scrap with Ondine, who alerts McDermott, who grabs Malanga and throws him into his chair on the extreme left. We accept that a body moving from one part of the frame to another can represent an enormous shift in time and space. McDermott scolds and tortures Malanga, and when his chair shifts, the left side merges with the background, and the background players join the torture. All the while, Edie sits on the extreme right, sometimes observing intently, sometimes not. Who is she? Where does she exist in relation to the story unfolding on the other side of the screen? Is she merely Edie Sedgwick watching the filming of a movie?

At the 49-minute mark, Warhol finally cuts to another close-up, and frankly, this intrusion is disappointing. Finally, the film ends with a hazy dance party, in which the characters become the actors playing them, or maybe not. In the earliest days of cinema, filmmakers learned slowly, through trial and error, how to delineate time and space in their new medium. Vinyl does away with all these rules. It also doesn’t fall back on the rules of theater, and instead dismantles the wall between “onstage” and “offstage.” Despite following no rules, we follow the story, come to know the characters, and use our imaginations to construct their world. Warhol has given us a completely original way to show a story on film. How many other filmmakers have done this?

Interview with Mario Zonta:

985MB | 1h 05m | 693×520 | mkv

https://nitro.download/view/B0D88136ACF0EE3/Vinyl.1965.DVDRip.x264.mkv
https://nitro.download/view/199D98C505323FD/Vinyl_(Interview_with_Mario_Zonta).mkv

Language(s):English
Subtitles:English (for extra)

The post Andy Warhol – Vinyl [+Extra] (1965) first appeared on Cinema of the World.