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“There is no traditional coverage of the band playing live. “The only film on them is by one of the greatest artists of the 20th century.
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In split screen, the band members’ screen tests for the Factory (usually seen as still photographs) play at length, with Reed or Cale staring provocatively out at you. Listen to The Velvet Underground MP3 Song by Next Chapter Podcasts from the album Scopophilia with Becky Teller - season - 3 free online on Gaana. Reed gave Haynes his permission to use “Satellite of Love” in “Velvet Goldmine.” Laurie Anderson, Reed’s widow and a filmmaker, endorsed Haynes directing the film, and other estates, like Andy Warhol’s, were supportive.įootage by Warhol, the only one to previously really document the Velvets, is laced throughout the film. But he saw him a few times at events like the Whitney Biennial (“I was too scared,” he says). You’re in a different language, putting it in a different context and the frame is visible.” So you’re not comparing it with the real thing, apples to apples. “I always felt like if I’m going to recreate this in a fiction form, I better do something different with it. “When I was doing research on the Bowie of ‘Velvet Goldmine’ or all the Dylans of ‘I’m Not Here,’ you come across the real thing,” says Haynes. In “I’m Not There,” rather than attempt the impossible task of finding a single actor who could play Bob Dylan, he cast seven. His “Velvet Goldmine” was a glam-rock fantasia of David Bowie. Previously, he’s made knowingly artificial fictions of great musicians. “The Velvet Underground” is Haynes’ first documentary. “You really felt that coexistence and the creative inspiration that was being swapped from medium to medium,” says Haynes, who notes such localized hotbeds now seem a victim of a digital world. More than anything, the documentary is a revelatory portrait of artistic crosspollination. Art, avant-garde film and music collided. Haynes patiently traces the fertile downtown landscape of Warhol’s Factory, the explosion of queer New York and how Lou Reed and the Velvets were turned on by acts like the experimental drone music of La Monte Young or the subversive poetry of Delmore Schwartz. “The Velvet Underground” is most singular in how it resurrects the 1960s downtown New York art scene that birthed and fermented the group.
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“The Velvet Underground” plums little-seen footage and features a host of rare interviews, including founding member John Cale (who describes the band as striving for “how to be elegant and how to be brutal”), early disciple Jonathan Richman of the Modern Lovers, and Jonas Mekas, the late pioneering filmmaker who filmed the Velvet Underground’s first live performance in 1964 and to whom the film is dedicated.
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An NYFF59 selection.Ĭlosed Captions and audio descriptions available with our capti-view devices at screenings.Josh Duggar seeks new trial or acquittal in child porn case Tracing influences and affinities both personal and artistic, Haynes unearths rich detail about Andy Warhol, The Factory, Nico, and others, adding vivid context and texture that never diminish the ultimate enigma of the band’s power.
Filmed with the cooperation of surviving band members, this multifaceted portrait folds in an array of participants in the creative scene’s cultures and subcultures. Combining contemporary interviews and archival documentation with newscasts, advertisements, and a trove of avant-garde film from the era, Haynes constructs a vibrant cinematic collage that is as much about New York of the ’60s and ’70s as it is about the rise and fall of the group that has been called as influential as the Beatles. Given the ingeniously imagined musical worlds of Velvet Goldmine and I’m Not There, it should come as no surprise that Todd Haynes’s documentary about the seminal band The Velvet Underground mirrors its members’ experimentation and formal innovation.
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