#Andy Warhol’s Frankenstein

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[twixnmix]

Joe Dallesandro and Udo Kier on the set of "Flesh for Frankenstein" at Cinecittà Studios in Rome, 1973.

Photos by Andy Warhol

[aloneandforsakenbyfateandbyman]

Udo Kier, Joe Dallesandro, Monique van Vooren, and Andy Warhol on the set of Flesh for Frankenstein (1973)

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[thehauntedrocket]

The Horror Film Posters Of Andy Warhol

[bitter69uk]

“Monique was the kind of character that exists only in Fellini movies: hyper-sophisticated, hyper-dramatic, hyper-hysterical. Tall, buxom and blonde, she even looked like Anita Ekberg in La Dolce Vita. She claimed to have discovered Hiram Satyricon Keller and to have lost many of her admirers to her close friend and frequent house-guest Rudolf Nureyev. She was always heartbroken but never missed a party.”

Bob Colacello reflecting on Monique Van Vooren in his book Holy Terror: Andy Warhol Close Up (1990). Belgian-American actress, dancer, cabaret chanteuse (she released the album Mink in Hi-Fi in 1958), international sex kitten and plastic surgery enthusiast Van Vooren (25 March 1927 – 25 January 2020) was born on this day 97 years ago. If you’re unfamiliar with Van Vooren, think of her as a kind of “lost Gabor sister” – or at least a kissin’ cousin. Her wayward filmography encompasses Tarzan and The She-Devil (1953), playing Queen of Skulls in Pier Paolo Pasolini’s The Decameron (1971), Andy Warhol’s Frankenstein (1973) and the Liz Taylor face lift melodrama Ash Wednesday (1973) (in which she is billed simply as “German woman”).

[timmurleyart]

Monster soap. 🧼🐺🟧 🧛 🟩🎃🩹⬛️

[weirdlookindog]

Andy Warhol's Frankenstein a.k.a. Flesh for Frankenstein (1973)

[rabidhiss]

First of all, Paul Morrissey is a fucking brutally honest hero that should live forever. Second, he didn’t like Andy Warhol yet had to go through decades of Warhol’s name plastered in front of his movies as if it was Warhol who made them; when in truth, “Andy had nothing going on in his head, could barely speak, wore a stupid wig, was an autistic albino, and only occasionally dropped by during editing.” His words. But you get the idea of whom Paul Morrissey is. Fiercely independent, hands on, workaholic, all around awesome artist in a time where sex was rampant and on display and music carried with it a superior religion and statement. None of the actors in Flesh for Frankenstein were professional- on purpose. They looked good in front of the camera or they had personalities that Paul liked. In this raw sense, F4F is a masterpiece. That every last detail was written, directed, edited by Morrissey is amazing. That the film delivered buckets of blood, practical effects, nudity, sex, AND was hilarious at the same time, transcends art. Is it mocking the source material? I don’t think so. I think of it as a skilled musician taking a sample of someone else’s music and manipulating it into something entirely different. I could write about my first experience with F4F all day, and still not even make it to how great of a job they did with the 3D- (it’s now my favorite 3D movie). If you are a trash, cult, grindhouse aficionado, if you own more than four John Waters films and you appreciate the unplanned and even experimental, just buy the Vinegar Syndrome edition. You’re going to love it on every level. 5/5

[schlock-luster-video]

On June 19, 1974, Flesh for Frankenstein debuted in San Francisco.

[gotankgo]

[twixnmix]

Srdjan Zelenovic and Joe Dallesandro on the set of "Flesh for Frankenstein" at Cinecittà studios in Rome, 1973.

Photos by Andy Warhol

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[sheltiechicago]

10' Frankenstein's Hay Monster- Double Stacked 5' Bales

Hay Bales That Jean Marie Smith Sculpted To Look Like Pop-Culture Characters For Last Year’s Halloween

Pikachu

Homage To Andy Warhol's Campbell's Soup Can

Optimus Prime

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[timmurleyart]

Mcboo and friends. 🎃🧙‍♀️👻🎃🥗🍬