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Trash
 
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Trash

Joe Dallesandro , Holly Woodlawn , Paul Morrissey    R (Restricted)   DVD
3.8 out of 5 stars  See all reviews (12 customer reviews)
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"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

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Customer Reviews

12 Reviews
5 star:
 (4)
4 star:
 (4)
3 star:
 (2)
2 star:
 (2)
1 star:    (0)
 
 
 
 
 
Average Customer Review
3.8 out of 5 stars (12 customer reviews)
 
 
 
 
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3.0 out of 5 stars Proverbial Van Down by the River, July 6 2004
By 
W. Dickinson "celluloid_crypt_keeper" (San Diego, CA) - See all my reviews
(REAL NAME)   
This review is from: Trash (DVD)
Despite the gracious full frontal male nudity which is shocking now days, this film is boring! Even though D'Allesandro (the random hung naked guy of many Morissey / Warhol films) is every inch (literally) gorgeous (despite crawling around looking like a homeless man), nothing prevents the crawling creeping restless boredom of this film. (If that was the intent of this film, well then-well done.) If nothing else it serves as a prompting for a liberal's worst nightmare awakening: that hippies and alt. culture are hated for some good reasons. It serves well too as a proverbial "van down by the river": it will deeply motivate you to do something with your life and never end up like this. Nancy Reagan should've thought of this film when she was telling kids to just say no.
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2.0 out of 5 stars TRASH,TRASH,TRASH!!, Feb 24 2002
This review is from: Trash (VHS Tape)
The movie is really trash. The movie starts out showing Joe Dallesandro's [rear] and Geri Miller go-go dancing naked. Later on in the movie we meet Holly Woodlawn a trash collector who is a transvestite and a former prostitute. More graphic nudity and sex come up when Jane Forth and her husband come in the story. An all right beginning,middle, and end but the story is terrible.
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4.0 out of 5 stars Exploring the junky side of the moon, Feb 6 2002
By 
This review is from: Trash (VHS Tape)
This film deals with drugs, very precisely heroin. We are in the post hippy period when drugs became an addiction after having been a life style. The drug addict is reduced in his sexuality, in his thinking and in his social life. He only survives in a hostile environment. But that was in 1970. The environment of the drug addict is either looking for easy kicks by flirting with drugs (high-school students for example), or for sexual kicks among young middle class couples or people who try to use the uninhibited life of the drug addict to have physical contacts with them or to beef up their own boring and fading relations, or for some advantage they can get from them in exchange of some welfare money (social workers for example). This leads to the sad conclusion that drug addicts who look for a certain liberation in a trip beyond limits find themselves entirely trapped in a fake world where alienation is demultiplied by their addiction. The film is of course also a piece of art by the fact that it refuses any kind of special effects or heavy production and the pictures only speak because they are plain, simple, and yet tremendously worked on by the simple technique of the camera, physical acting and voices. The expressivity of the film comes from those simple elements and the realistic revealing dialogue that goes along with it. The feeling we get is that of a totally poignant fatality that pens up the drug addict in a fully lost battle for survival. There seems to be only death at the end of the road.

Dr Jacques COULARDEAU

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