There was a time in the 1970s when film distributors were able to test-market their more offbeat offerings as “Midnight Movies” for adventurous moviegoers. Sometimes these developed into cult phenomenas like El Topo (1971), The Rocky Horror Picture Show (1975), or Eraserhead (1976). Sometimes they failed to find any audience at all like Pelvis (aka All Dressed Up in Rubber with No Place to Go, 1977) or Elevator Girls in Bondage (1972). Arriving at the tail end of the Midnight Movie craze, Rock ‘n’ Roll High School (1979) fell somewhere between these two extremes.Continue reading
For most people the films of Andy Warhol were more fun to read about then to actually watch. In the case of films such as the 485-minute Empire (1964) or Sleep (1963), at 321 minutes, it’s hard to imagine someone watching these in their entirety in one sitting. I don’t even think Warhol expected viewers to watch these in real time but to wander in and out of the screenings like you would at a video installation. But even at revivals of the most popular and infamous Warhol titles such as The Chelsea Girls (1966) and Lonesome Cowboys (1968), you can bet on numerous walkouts during the screenings, not from outrage but boredom or disinterest. At the other end of the scale, however, are the short, silent black and white films he made when he was first experimenting with the medium and his Screen Test series shows a brilliance of concept and execution that could easily turn naysayers into converts.