Product Description

Australia released, PAL/Region 4 DVD: it WILL NOT play on standard US DVD player. You need multi-region PAL/NTSC DVD player to view it in USA/Canada. Languages: o English (Mono) Synopsis: Trash, which follows Flesh in the Paul Morrissey-Andy Warhol-Joe Dallesandro trilogy, is every bit as off-putting as its predecessor. Trash, however, is a step up from Flesh in terms of its technical side; while still far from "professional," its camerawork and sound are more controlled and purposeful. It also gives the impression of featuring a more coherent plot, but in truth it is still a series of vignettes loosely tied to a motivating factor. However, there is considerably more action in Trash. There is also a magnificent chemistry between Dallesandro and Holly Woodlawn, who gives a love-it-or-hate-it performance that is full of bizarre life. Dallesandro is once again a low-key performer, at times irritating, but the guilelessness of his performance is perfect in the context of the film. The general level of acting is also appreciably higher than in Flesh, with memorable turns from Michael Sklar and Andrea Feldman. Many will be turned off by the film, but those cultists who embrace it do so honestly -- there's a raw fascination to the film, a method to Morrissey's madness. He's not interested in creating a "good" film; he's interested in creating a personal film that bears an indelible stamp, and in that he succeeds brilliantly. Special Features: o Scene Access

Product Details

• Amazon Sales Rank: #265905 in DVD
• Released on: 2005-08-30
• Rating: R (Restricted)
• Aspect ratio: 1.33:1
• Format: PAL
• Original language: English
• Number of discs: 1
• Running time: 110 minutes

Features

• THIS DVD WILL NOT WORK ON STANDARD US DVD PLAYER

Amazon.com
"Why do you have to be unconscious?" asks Holly (played by Holly Woodlawn) while fingering the unresponsive crotch of her passed-out junkie boyfriend, Joe (Joe Dallesandro). Joe passes through a series of flaccid sexual encounters until, on account of his drug habit, he hits rock bottom as Holly is forced out of frustration to consummate with one of his discarded beer bottles. A radical and infinitely more compassionate departure from producer Andy Warhol's art-as-commodity (or commodification) discourse, director Paul Morrissey set out to make a reactionary antidrug film (originally titled Drug Trash), but the film instead turned into a sweaty, cinema-verité black comedy about the pitfalls of, to use a popular catch phrase of the time, "dropping out" of society and, inevitably, losing all hope of human intimacy. In this case, dropping out is not so much an escape as it is a further complicity: rather than an exercise in free will, one form of mindless consumer addiction has simply exchanged with another. As a time capsule, societal criticism, and cult oddity all in one, grab this from the trash heap of film history on your way out of a burning building. --Christopher Chase

Customer Reviews

a little gem which is well worth seeing
ANDY WARHOL'S TRASH By C.C.Berg

I first saw this tragic comedy when it was released in Stockholm in 1970, and it is against the background of this period that it should be considered: free love and the birth pill; the hippie flower-power philosophy; the Vietnam war; the drug culture. Twenty-nine years ago this movie had a strange effect on me, I left the cinema with a profound feeling of joy

According to what I have read, the movie is unscripted and the acting improvised, this comes across very clearly. The sound quality is sometimes poor. We are shown a series of 'tableaux', in which some very perturbed, gruesome characters play out their daily life centred on drugs, sex and misery.

Joe, an impotent heroine addict, is constantly looking for his next hit and constantly coming across women who want to make love with him. Joe and his 'wife', sweet Holly Woodlawn, a frightful transvestite (and powerful actress), live in a run-down apartment furnished with what Holly finds in the garbage.

These two characters and the fauna who surround them get into the most absurd and unlikely situations. The movie is sprinkled throughout with humour and grim reality, a dichotomy which works disturbs and delights. One finds oneself passing from disgust to a belly laugh in a matter of seconds and this is where the strength of the movie lies.

To be brief, here is a little gem which is well worth seeing, an absurd drug-sex comedy with much artistic talent. For adults only.

Joe the Wonderful, Joe my Love!
When I saw this movie back in the l970s, I was knocked out of my BVD's with Joe the Magnificent. I had never seen a creature like him before: gorgeous, tough, sweet, funny and sex personified. I've read where this movie was NOT improvised, that Paul Morrisey adhered to a professional script and was a strict, but creative director. Then, I've heard it was just the opposite. I really don't think Joe was faking his drug induced stupor, expressions, mumblings. I loved Holly Woodlawn but nearly upchucked when her hideous, pregnant sister entered the picture. Gross is too mild a word. That drooling wet mouth and buck teeth, her bloated figure, yuck! I wish that sad little lost child, Andrea Feldman, had a bigger part. Thankfully, she was showcased in Andy Warhol's HEAT, another favorite. Once I was in the Village during that time and my boyfriend told me Joe Dellasandro was walking just ahead. I fled--not wanting to see a real embodiment of a movie icon. The same thing happened when Liz Taylor left the theater each night during her starring role in "The Little Foxes" during the 80s. Each night I would study the gigantic crowds, waiting to glimpse her. But when I'd see the stage door open and she began to make her exit, I fled. Reality's a nice place to visit but I wouldn't want to live there. Gotta run and watch Joe, my Joe, my wonderful Joe in "Trash." A real underground classic.

2 historical notes and a question
Bruce Pecheur, the actor playing the husband of Jane Forth, was murdered in his Greenwich Village apartment by an intruder while the movie was still playing in New York. Jane Forth (Who for my money had the best lines in the film- "Now get in here and rape me!") was a highly paid fashion model who was to become a Warhol regular but reportedly dropped out to go back to the runway. Does anybody know what ever happened to Holly Woodlawn?