I’m SORRY?! Marie Osmond reads Hugo Ball the Dadist poet! This from Ripley’s Believe it or Not
We’ve lost Andy Warhol’s perhaps greatest collaborator/cinematographer Paul Morrisey and auteur genius master of American cinema verité, the first film I watched of theirs was this - ‘FLESH’ in 1968. A notorious lfelong conservative he managed the Velvet Undergound and collaborated on several Warhol projects. They fell out later and Morrisey again dismissed or misunderstood (as so many did! sic) Warhols ‘inactivity’ for something else but remains important in cinema history despite his rabid right wing views and anti-drug stance and hated being described as Warhol’s collaborator!
american primitives posted this and wanted to share their link but it would work so here ’tis!
speaking of muses . . . . . . .
"Adieu to the magnificent Anouk Aimée (née Nicole Françoise Florence Dreyfus, 27 April 1932 – 18 June 2024), who has died aged 92. The most feline and inscrutable of mid-twentieth century French actresses, she’s a haunting, sensual, and Garbo-like presence in the glory days of European art cinema. Her death represents one less lifeline to that era: off the top of my head, it feels like of Aimée’s nouvelle vague French contemporaries, only Alain Delon, Brigitte Bardot and Catherine Deneuve are left? My favourite performances by Aimée: Les Amants de Montparnasse (1958), La Tête contre les murs (1959), La Dolce Vita (1960) – unforgettable as the elegant jaded thrill-seeking heiress in sensational sunglasses and little black cocktail dress! – Lola (1961), 8 ½ (1963), Model Shop (1968) and Justine (1969). But hell, I also love Aimée (dubbed by an American actress!) as the cruel lesbian queen in trashy sword-and-sandal biblical epic Sodom and Gomorrah (1962). It’s fascinating to contemplate that at the height of her international fame in the sixties, Hollywood considered Aimée for two high profile roles: the part played by Faye Dunaway in The Thomas Crown Affair (1968) – and The Baroness in The Sound of Music (1965)! Let’s give punk poetess Patti Smith the final word. In her 1972 poem “girl trouble”, Smith wrote “I need a chick. not a fresh easter chick. egg pop. not a new peach. but a girl with intricate balance. a girl who is grown up. but not cold enough to be called a woman. Anouk Aimée of the black dress and bruised eyes. not a bomb shell.” Later, in 1976, Smith raved to Circus magazine “Besides me wanting to be an artist, I wanted to be a movie star. I don't mean like an American movie star. I mean like Jeanne Moreau or Anouk Aimée in La Dolce Vita. I couldn't believe her in those dark glasses and that black dress and that sports car. I thought that was the heaviest thing I ever saw.”
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