The Velvet Underground and Nico: A Symphony of Sound
1966·Music·1h 10m
7.1
★
The film depicts a rehearsal of The Velvet Underground including Nico, and is essentially one long loose improvisation.
Directed by Andy Warhol and Paul Morrissey
IMDB
N/A
Cast
John Cale
Self
Lou Reed
Self
Nico
Self
Sterling Morrison
Self
Maureen Tucker
Self
Billy Name
Self
Andy Warhol
Self
Mary Woronov
Dancer
Crew
Andy Warhol
Director
Paul Morrissey
Director
Paul Morrissey
Cinematography
Popular Reviews
6 reviews
frenchie
8.0★ · 08/23/24
i <3 music
i <3 music
Jackson Lang
9.0★ · 04/20/24
What Warhol does here is something similar to Michael Snow but for the purpose of achieving an entirely different goal.
It’s sort of fascinating that it manages to differentiate itself from Michael Snow’s works considering they are so stylistically similar yet the different intentions are so clearly felt. The film takes a very set in stone piece of iconography and changes it through the Camera creating something new in the synthesis.
Andy Warhol is reshaping an iconic image that being the velvet underground into this sort of distorted representation. This is different from Michael Snow, who primarily was analyzing the mechanisms and effects of the camera itself with the subject being a sort of secondary quality. Instead the reverse is true here. the velvet underground is the primary and the camera is secondary creating a film that while stylistically looks very similar to what Michael Snow was doing is in its entirely own lane.
Its goal is to literally and metaphorically warp the image of the velvet underground. Michael Snow and Warhol are using the same tools in a philosophical sense, but those tools are used to sculpt two definitively different statues.
This just goes to show that The question of method and the question of goal must be answered separately.
It’s sort of fascinating that it manages to differentiate itself from Michael Snow’s works considering they are so stylistically similar yet the different intentions are so clearly felt. The film takes a very set in stone piece of iconography and changes it through the Camera creating something new in the synthesis.
Andy Warhol is reshaping an iconic image that being the velvet underground into this sort of distorted representation. This is different from Michael Snow, who primarily was analyzing the mechanisms and effects of the camera itself with the subject being a sort of secondary quality. Instead the reverse is true here. the velvet underground is the primary and the camera is secondary creating a film that while stylistically looks very similar to what Michael Snow was doing is in its entirely own lane.
Its goal is to literally and metaphorically warp the image of the velvet underground. Michael Snow and Warhol are using the same tools in a philosophical sense, but those tools are used to sculpt two definitively different statues.
This just goes to show that The question of method and the question of goal must be answered separately.
What Warhol does here is something similar to Michael Snow but for the purpose of achieving an entirely different goal.
It’s sort of fascinating that it manages to differentiate itself from Michael Snow’s works considering they are so stylistically similar yet the different intentions are so clearly felt. The film takes a very set in stone piece of iconography and changes it through the Camera creating something new in the synthesis.
Andy Warhol is reshaping an iconic image that being the velvet underground into this sort of distorted representation. This is different from Michael Snow, who primarily was analyzing the mechanisms and effects of the camera itself with the subject being a sort of secondary quality. Instead the reverse is true here. the velvet underground is the primary and the camera is secondary creating a film that while stylistically looks very similar to what Michael Snow was doing is in its entirely own lane.
Its goal is to literally and metaphorically warp the image of the velvet underground. Michael Snow and Warhol are using the same tools in a philosophical sense, but those tools are used to sculpt two definitively different statues.
This just goes to show that The question of method and the question of goal must be answered separately.
It’s sort of fascinating that it manages to differentiate itself from Michael Snow’s works considering they are so stylistically similar yet the different intentions are so clearly felt. The film takes a very set in stone piece of iconography and changes it through the Camera creating something new in the synthesis.
Andy Warhol is reshaping an iconic image that being the velvet underground into this sort of distorted representation. This is different from Michael Snow, who primarily was analyzing the mechanisms and effects of the camera itself with the subject being a sort of secondary quality. Instead the reverse is true here. the velvet underground is the primary and the camera is secondary creating a film that while stylistically looks very similar to what Michael Snow was doing is in its entirely own lane.
Its goal is to literally and metaphorically warp the image of the velvet underground. Michael Snow and Warhol are using the same tools in a philosophical sense, but those tools are used to sculpt two definitively different statues.
This just goes to show that The question of method and the question of goal must be answered separately.
Mitchel H
but shes not afraid to die🎶
but shes not afraid to die🎶
Luna
6.0★ · 01/08/24
Kris
6.0★ · 10/07/23