Little mention is made of the Factory, Warhol’s workshop where, in addition to the band, various hangers-on and aspiring stars gathered, often for drug- and sex-related escapism. Avant-garde filmmaker Jonas Mekas likens Warhol to “a father who always said yes,” which hints at Warhol’s passive, uncritical approach to the world. Nor does the film probe Warhol’s influence on the band-or Warhol in general. This complex environment was crucial to the group’s development, but The Velvet Underground scarcely acknowledges its influence. Bohemianism called for the throwing off of conservatism, but in favor of what precisely? In general, the distance of the artists from-or even their hostility toward-the working class remained a central issue. Various social moods were developing, some of them very confused, not all of them healthy. The band got underway during the height of the civil rights movement and the inner city rebellions, the emergence of the anti-Vietnam War protests and amid signs the postwar economic boom in the US was unraveling. Through archival footage, the film evokes the mid-1960s without adequately conveying the period’s significance. He speaks mainly about his intentions, though, and little about his larger motives. Cale articulately describes his musical development and his desire to reflect “the 60-cycle hum of modern life” (that is, the sound associated with alternating current power lines). Interviews with Cale and Reed’s sister Merrill shed light on the background of the band’s two principal figures. The result of these decisions is a film for the initiated that does less than it could have to enlighten the newcomer. It misses an opportunity for a fresh analysis of its music. This approach, of course, does not help the viewer who is unfamiliar with the band, or critical of it. Haynes also did not want the film to examine the band’s importance, thinking that it needed no explanation. But viewers who did not live through the 1960s may well have trouble filling in the “holes” and making sense of what they are seeing. “I wanted the audience to fill in the holes themselves and make their own discoveries,” said Haynes. Although this technique is striking and evocative, it eschews any explanation. At times, the screen is split into two, or as many as 12, images that range from newsreels to avant-garde films. Haynes told Portland Monthly that he wanted to de-emphasize oral narrative and instead recreate the historical period through images and sound. Unfortunately, Haynes’s self-imposed constraints limit the movie’s perspective. The band’s enduring popularity and continuing influence on rock musicians certainly provide grounds for a critical examination of its history and music. Never popular or successful while it was active, the Velvet Underground has since gained a large critical and popular following. Although the group’s music became more conventional, it also gained subtlety and emotional range. Shedding first Nico, then Cale (who was replaced by bassist Doug Yule), the band recorded several more albums, each with a distinct sound. Several of its songs dealt with taboo topics such as drug addiction and sadomasochism. This configuration recorded what became the group’s most acclaimed album, The Velvet Underground & Nico. Pop artist Andy Warhol became the band’s manager in 1966 and brought German model and singer Nico into the line-up. Reed’s love of early rock and roll, Cale’s interest in the musical avant-garde and the bohemianism of both contributed to a sound that distinguished the group from its peers. Its early line-up included the talented vocalist and guitarist Lou Reed, multi-instrumentalist John Cale, guitarist Sterling Morrison and drummer Moe Tucker. The Velvet Underground formed in New York in the mid-1960s. Even fans of the band, too, may feel only half-satisfied. But those who seek out the film to gain greater insight into the group it examines-and its times-will walk away with unanswered questions. Like his previous efforts, Haynes’s new film displays his considerable talent as a visual artist. Although he has focused on musicians in several of his previous films, including Velvet Goldmine (1998) and I’m Not There (2007), The Velvet Underground is his first documentary. Veteran director Todd Haynes ( Safe, Mildred Pierce, Dark Waters) has ventured into new territory in The Velvet Underground (2021). Part 1 was posted November 30, and Part 2 December 7. This is the last in a series of articles devoted to the 2021DOC NYCFilm Festival (November 10–28).
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