With this, Warhol perhaps reached his peak of likability, if we can speak of a director being likable who has developed a style that would enable him to go out for a sandwich or visit the men's room in the middle of a shot. This plotless, directionless, and directorless style relies heavily on the actors, and the ensemble here is more reliable than usual -- or ever. But this is not to downplay some of the other basic building-blocks of the Warhol legend, all solidly in place here: the long, static single-takes; the ragged edges of editing; the reputed habit of deleting some footage, inserting some new, while maintaining the same running time, in the course of the movie's premiere engagement; and, of course, the glimpses of pubic hair in the fig-leaf era before I Am Curious. And through some subterranean means, beneath all the New York smart stuff, the movie even manages to convey a certain lifestyle and a certain sense of ruefulness about it. Joe Spencer, Ingrid Superstar, Brigid Polk, Viva. (1967) — Duncan Shepherd
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