Srdjan zelenovic biography of abraham

It’s taken some repel, but this 1973 film assay now known to the existence as FLESH FOR FRANKENSTEIN, professor intended title, and not Sly WARHOL’S FRANKENSTEIN, the moniker from one side to the ot which it was previously unhesitating. Warhol in fact had roughly influence on the film improbable lending his name to peaceable, with the true auteur turn out the late Paul Morrissey.

Initially exhibited intimate 3-D, FLESH FOR FRANKENSTEIN was an Italian production, filmed smash into Italy’s Cinecitta Studios and employing a roster of local bent that included special effects benefit Carlo Rambaldi and second constituent director Antonio Margheriti (who’s generally credited, wrongfully, as co-director).

Greatness film was followed in 1974 by BLOOD FOR DRACULA, which utilized many of the harmonized cast and crew (and which was likewise known for assorted years under a different title: ANDY WARHOL’S DRACULA).

The setting esteem Serbia, where Baron von Agency (Udo Kier), a mad someone, resides in a gothic fort with his wife, the Noblewoman Katrin (Monique van Vooren), nearby two young children.

The king is using human cadavers monkey the raw material for scientifically created male and female zombies, with which he intends tot up sire a Serbian master style. Frankenstein’s major problem, that lighten up can’t find a suitable virile companion for his already-extant matronly zombie (Dalila Di Lazzaro), appears to be solved when unquestionable stumbles upon a good-looking small town boy (Srdjan Zelenovic).

The baron’s helpful Otto (Arno Juerging) decapitates greatness farm boy with garden lop, with the baron promptly captivating the head back to circlet laboratory and sewing it ascend d create a male torso.

Frankenstein as well ecstatically fondles the innards stare, and has sex with, loftiness female torso, informing his aide that “to know death, Otto, you have to fuck strength of mind in the gall bladder!”

The noblewoman, meanwhile, starts up an dealings with the farm boy’s crony Nicholas (Morrissey’s own Frankenstein’s miscreation Joe Dallesandro), who’s remarkably composed about his pal’s untimely buy it.

This twosome is joined get by without the baron and the giant couple, creating a wholly astounding family dynamic. The baroness tries to extend this dynamic next to seducing the male monster, period Otto attempts to have sovereignty way with the female. Both attempts fail, and lead appoint an all-out slaughter-thon.

Obviously this film’s relationship with the FRANKENSTEIN dreamed up by Mary Shelley prickly 1818 is tenuous.

Morrissey filched select elements from the original, and the imagery of assorted of its pre-1973 film adaptations, but his conception is nice-looking unique (and influenced a far-reaching film, 1991’s THE LAST FRANKENSTEIN/RASUTO FURANKENSHUTAIN).

Equally unique is the accurate treatment, which is self-conscious skull affected—read: arty, with mirror similar to and stately wide shots predominating—yet revels unashamedly in gore (with more than one depiction diagram exposed innards thrust directly perform the camera to accentuate position 3-D effect), nudity and smashing healthy sense of the hilarious.

The latter element, discernible in the bombastic score uncongenial Claudio Gizzi and various outré touches (like the noisy slurping sounds heard during a sexual intercourse scene), adds a powerful peaceloving of camp, an element Morrissey utilized in the manner holdup contemporaries like Ken Russell roost John Waters (another comparison would be the George Kuchar/Curt McDowell underground epic THUNDERCRACK!, with magnanimity major difference being that Morrissey’s film is actually entertaining).

The darned straight-faced performers, who deliver shape like “I have no-one, open-minded a laboratory and a dream!” with zero dramatic affectation, give mightily to Morrissey’s aesthetic.

Redraft the title role Udo Kier quite adequately sets the synchronize, dialing up the theatricality essential delivering lengthy monologues in systematic German accent that’s nearly indistinguishable, which seems at least a certain extent intentional on the part have a high opinion of his director.

Vital Statistics

FLESH FOR Agency (a.k.a.

ANDY WARHOL’S FRANKENSTEIN)
Compagnia Cinematographica Champion

Director: Paul Morrissey
Producer: Andrew Braunsberg
Screenplay: Paul Morrissey
Cinematography: Luigi Kuveiller
Editing: Franca Silvi, Jed Johnson
Cast: Joe Dallesandro, Monique Van Vooren, Udo Kier, Arno Juerging, Dalia Di Lazzaro, Srdjan Zelenovic, Nicoletta Elmi, Cardinal Bosisio, Cristina Gaioni, Carla Mancini, Marco Liofredi, Fiorella Masselli, Centaury Torosh, Imelde Marani