Bad

"Andy Warhol's Bad" is probably one of my top ten favorite comedies. Imagine a John Waters movie and make it ten times more offensive! Great stuff! This is quite a turn from director Paul Morrissey's underground improvisation opuses, but isn't a bad change.

Carroll Baker is great as Hazel Aiken, a lady who runs an electrolysis clinic in her home and a murder-for-hire business on the side, utilizing only female killers (save for new employee Perry King). Baker is fabulous and reminded me of Kathleen Turner in "Serial Mom", just without the constant happiness. Susan Tyrell is great as Hazel's daughter-in-law Mary, who spends her life residing in Hazel's house caring for her baby. Always looking frumpy and whiny, Tyrell is hilarious! I see now why John Waters seeked her out for a part in "Cry-Baby"! Perry King is a painfully obvious Joe Dallesandro replacement. Reportedly Dallesandro turned down the part for work in Europe, which unfortunately didn't lead to anything that helped his career. He would have been perfect here and would have acted with/had another sex scene with one-time girlfriend Stefania Casini (they had worked together in "Blood for Dracula"). Casini's Italian accent is thankfully left intact and is very sexy as a redheaded assassin. Also making an appearance is early Warhol regular Brigid Polk as Estelle, a bitchy fat lady who wants cop Lawrence Tierney's dog killed for something he said about her weight! Jane Forth is almost unrecognizable as a screaming passerby who is splattered with blood when a woman throws her baby out the window! As you can tell from these examples, "Andy Warhol's Bad" is not for everyone. For those with a very broad taste in humor and those not easily offended.

"Bad" speaks to those of us who like to voyeuristically revel in wickedness for its own sake. This film is filled with abuse that good people everywhere proclaim they are incapable of fathoming. It is the realm of sick people with evil imaginations that prey on the weak, homely, helpless. However, because it is cinema, "Bad" should be viewed with a discerning mind. It is very funny at times to watch human folly in all its excesses. This film takes "bad" human behaviour to the extreme. It is camp that very much resonates in the same spirit as "Pink Flamingos" and "Meet the Feebles". This film will upset those who take themselves far too seriously. Without a sense of humour, the prospective viewer will be lost in a self-righteous fever.

If you're not sure what irony is, imagine a housewife in Queens running a legitimate electrolysis shop while also running an illegitimate "murder for hire" operation. But Hazel Aiken's real pet peeves are using off color references (toilet talk) in her kitchen or after deliberately scattering broken glass, sets up her male boarder to walk barefoot through it, threatening him if he gets blood droplets on her rug. Orchestrating the murders of auto mechanics, babies and dogs is just part of a days work. Carroll Baker is perfect is the self-absorbed Hazel Aiken who prefers using women to carry out these dastardly deeds. It is only after she breaks from tradition and hires L.T (Perry King) as her newest recruit, do things go astray. Every job is bungled. Hazel's homely, depressed and poor daughter-in-law (Susan Tyrrell) is the only soul with a conscience in this dark but funny flick. Of all the "underground" Wahhol movies, this would be considered closest to "ground level". It also stars Brigid Berlin (then Brigid Polk), Cyrinda Foxe, Mary Boylan, Stefania Casini, Charles McGregor and a list of lesser known "Warhol" affiliates. It's a "must see" for those who appreciate the offbeat.

Although Andy Warhol's association with this movie was merely nominal, the late Jed Johnson and his screenplay writers produced, (whether consciously or not hardly matters), one of the truly subversive masterpieces of American cinema. It is a more devastating critique of capitalism than any film ever produced by the so-called communist countries, and it forces us to face so many different issues, and ask ourselves just what we have collectively allowed our society to become. (Britain, by the way, is rapidly catching up in this respect; we usually trail the US by about five years in such matters!). It is too, one of the most strangely MORAL films, peopled, (with one exception), with characters so hideous, or selfish, or self-seeking, or ruthless, or just plain cruel, that empathy is thin on the ground, and yet the exception, (the docile, trusting, slightly naive, and conventionally "plain" and "square" Mary; was that name deliberately chosen for its symbolic value I wonder?), emerges as the true survivor, whose basic humane values are so cogently reflected in her closing line of the film, "Looks aren't everything". All the values that we are brainwashed into believing are "sharp", "hip" or "cool" are turned on their head, and even more amazingly, one of the ultimate messages that this remarkable film delivers, edges very close to an anarchist philosophy, that meaningful change and revolution has first to start with the individual, and that conventional "values" are hollow and riddled with hypocrisy if those espousing them are secretly pursuing hidden agendas of their own. (Step forward all the various "gate" participants of the last few decades..!). Certainly not a film for the squeamish, (how could the American ratings board or any caring parent allow children to watch such a movie?), but a film which I am sure the passage of time will show to be one of the most important American films ever. It really is that good! Technical credits are all outstanding too, (a brilliant score by the late Mike Bloomfield which fits the sleazy overall mood like a glove), and a performance from Carroll Baker that is worthy of an award. Approach this film with an open mind and some lateral thinking, and you too might discover that it is an unexpected revelation. A masterpiece!

I've only watched a few of Warhol's films but BAD now joins FLESH FOR FRANKENSTEIN (1973) and BLOOD FOR Dracula (1974) in being the most interesting examples of his work (so far, anyway), if still not exactly good cinema!

Tacky in presentation and patchy in effect, the film is tasteless enough to keep one watching - sometimes incredulously - till the very end; Mike Bloomfield's pounding score helps, too. Carroll Baker seems comfortable enough with her unusual (to say the least!) role - though she had cut her teeth in Italian cult films during the previous decade. The rest of the cast is eclectic, if not especially rewarding: Perry King, Susan Tyrrell (playing a simple-minded ugly duckling who's been left stranded with a child suffering with Down's Syndrome!), Stefania Casini and Lawrence Tierney. The first three appear as temporary residents in Baker's house - a hair-removing business indulging in criminal activities on the side! - while Tierney is one of their victims (or, rather, its master as the target was actually his dog!). Baker utilizes several colorful killers for her alternately anarchic and murderous jobs: King is a wastrel, while Casini (who comes off best, despite struggling with the English dialogue) is a tough foreign broad, for instance; among others, there is also a memorable sister act - one of whom is a pyromaniac.

Among the film's most hilarious - or, should I say, horrifying - sequences: a young one-armed man reacting passively to Casini's killing of the mechanic responsible for his disability; a journalist reporting a fire in a cinema, which left 14 people killed, saying that one should thank God that the film being shown was a Hispanic release with limited appeal - as, otherwise, the number of victims would have been far greater!; and, particularly, three scenes involving violence perpetrated on children: a jaw-dropping yet hysterical one where a distraught mother callously throws her crying toddler out the window of a tall building, splashing bystanders with its blood (the baby itself is then voyeuristically shown splattered on the pavement)!!; another in which King punches a retarded boy several times - and even throws him across the room - in order to make sure of his condition, but still can't bring himself to 'execute' him; and the end sequence when Baker's body is discovered by Tyrell who, in her amazement, lets go of the baby (which comes tumbling down to the floor).

One last thing; "Leonard Maltin's Film Guide" erroneously lists this as having been made in 1971 - but that's quite impossible since, at one point, Tyrrell's character is asked what was the last film she watched and the reply comes that it was "that Watergate thing" (alluding obviously to ALL THE PRESIDENT'S MEN [1976])!