The velvet underground 2021
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You got Lou’s childhood friends, Allan Hyman and Richard Mishkin, to talk about being in a bar band with him. Todd Haynes, The Velvet Underground, film still, 2021. I imagine that this is a by-product of familiarity, the responsibility of a Velvets fan who didn’t want to put in the obvious events but, when the story required it, drew on images we haven’t seen a thousand times. But then, this film gives newness back to so much of what it handles. Hearing ‘Sweet Jane’ (1970) and watching people frolic in the Central Park Bethesda fountain returns some measure of lift to an overly familiar song. The layering reminds me of Barbara Rubin’s Christmas on Earth (1963), one of the many experimental films you excerpt very briefly.
The velvet underground 2021 movie#
I didn’t really think I wanted to watch a movie told in two or three images at once but you make the split screens talk to each other. It’s not Lou and it’s not pleasant, so you’ve got the classic rock crowd on their back feet right away. You open with John Cale’s viola from ‘Venus in Furs’ (1967), isolated and howling. This is about a band and their New York and the filmmakers who led them to and away from Andy Warhol, who was maybe more encouraging than I give him credit for. You put it together with the kind of care that people bring to their family stories, that sense of being responsible for more than one life. This film you’ve made, The Velvet Underground, is both for people who love them and for those who absolutely don’t know what a Velvet is. I get the feeling you’ve been thinking about The Velvets for just as long. Forty years ago, I typed out all of The Velvet Underground songs on my Dad’s IBM Selectric. I’ve only transcribed someone else’s lyrics once.