Reflections on … Ari and Mario (1966)

/ The ever-inscrutable Nico (1938 - 1988): Warhol Superstar, Velvet Underground chanteuse, heroin-ravaged diva and “possessor of the most haunting wraith cheekbones of the 20th century” (thank you, James Wolcott of Vanity Fair) /

What's a busy single mother and Warhol Superstar to do? Nico needs to go out so, naturally, calls on Puerto Rican drag queen / underground film starlet Mario Montez to baby-sit her young son Ari Boulogne at her cramped apartment in New York's louche Chelsea Hotel.

/ Ari and Nico: this is very much how they appear in Ari and Mario /

High jinks ensue: cherub-faced Ari is adorable but so hyperactive and wild he is virtually feral. Montez offers to read to him, sing to him and dance for him, but Ari is oblivious to her charms and more interested in alternately pretending to be a crocodile and a cowboy and shooting her with his toy gun (towards the end Montez finally snaps, "Can't you find something else to shoot at?"). Off-screen from behind the camera director Andy Warhol himself is frequently audible encouraging urging Ari to misbehave.

All the "action" takes place within the confined space of the tiny kitchen and there is no editing. The film feels like a home movie (it’s filmed in grainy Super 8 but in grunge-y bleached-out colour instead of black and white), albeit a home movie with an exceptionally hip and stylish bohemian cast.

/ Andy Warhol and Mario Montez during the making of The Chelsea Girls (1966) /

In lieu of narrative the film is primarily an affectionate character study of the unlikely duo of three-year-old boy and transvestite. Warhol's more famous Superstar transvestites Candy Darling, Jackie Curtis and Holly Woodlawn emerged later; the rather swarthy Mario Montez (1935-2013) can be seen as their precursor. Montez (real name: Rene Rivera from Brooklyn, with a day job at the post office) was the then-reigning drag queen of choice for underground filmmakers in the early sixties: she'd already worked with Jack Smith in the notorious Flaming Creatures (1963) and appeared in off-Broadway plays; Montez and Nico would both subsequently feature in Warhol's The Chelsea Girls (1966), also set at the Chelsea Hotel. For her baby-sitting assignment Montez chooses to wear an incongruous ensemble of long powder-blue taffeta evening gown, blonde bouffant wig, dangling earrings and heavily-layered clown-like make-up.

/ Pioneering Warhol drag queen superstar Mario Montez /

Ari (born 1962) was the son Nico claimed was fathered by the European art cinema heartthrob Alain Delon (to this day Delon denies paternity). Certainly, if Ari is the offspring of Nico and Delon he inherited their looks: he is an exceptionally beautiful child.

Montez, befitting an exhibitionistic, attention-seeking Warhol Superstar, is acutely conscious of being filmed and is eager to seize the opportunity to perform but when she offers to entertain Ari by singing for him, Ari shakes his head no. She sings "Ten Little Indians" anyway; Ari stonily ignores her. In keeping with the cowboys and Indians theme, when Montez improvises an interpretative Indian squaw dance, Ari hides his face behind a curtain rather than watch her. It's Montez's exasperated attempts to both try to relate to Ari and to maintain her sweet-voiced, lady-like demeanor that make Ari and Mario one of Warhol's funniest and most likable films.

Early in the film the actress, jazz singer and fellow Chelsea Hotel habitué Tally Brown (another veteran of both Warhol and Jack Smith films) makes a brief but vivid appearance. She drops by to use Nico's phone: hers has been cut off because hasn't paid the bill. A charismatic figure in a fur hat and suede go-go boots, she speaks to Ari in French with genuine warmth, asking if he knows any songs. When Ari answers No, Tally points out, “Your mother is a singer” but Ari doesn't reply.

/ Above: Tally Brown photographed by Billy Name at Max's Kansas City in the sixties /

When Nico returns from her outing she sits on the floor and talks casually in her whisper-soft German accent to Montez while Ari tears around, sometimes playing with the off-screen Warhol. The film captures a radiantly beautiful Nico with almost waist-length pale blonde hair, looking fashion model-elegant in a man's navy-blue pea coat over a turtleneck sweater and pinstriped hipster trousers.

Knowledge of Nico's biography foreshadows Ari and Mario with a tragic extra resonance. She has been routinely vilified in print for her parenting ability, with some justification. Not long after the film Nico would hand Ari over to Alain Delon's parents in France to raise and descend into heroin addiction. More damningly, the general consensus is that later in life when they were reunited Nico initiated the adult Ari into heroin use.

In Ari and Mario, though, we see only relaxed, unaffected affection between Nico and her young son. Pouring him orange juice, Nico teases, "Ari doesn't love me anymore." At one point Ari approaches and spontaneously plants a kiss on the side of Nico's face then goes back to careening around like a Tasmanian devil. The sight of Nico and Ari at this point in their lives when there would seemingly be so much potential and optimism ahead for them, you can't help but feel a wave of sadness for the despair, addiction and premature death that awaits them both in the future. (Nico died in 1988 aged 49).

Devoid of his usual cocktail of sadomasochism and amphetamines, Ari and Mario's emphasis on innocence and domesticity is a sweet exception in the Warhol canon.

I've blogged about "the Marlene Dietrich of Punk" Nico many times over the years: her contemporary Marianne Faithfull reflects on Nico here; the historic encounter When John Waters Met Nico; Nico’s 1960s modelling days; how the old jazz standard “My Funny Valentine” (and heroin) connects Nico with Chet Baker; When Patti Smith Met Nico and finally, the relationship between Leonard Cohen and Nico.

Reflections on ... Tally Brown, New York (1979)

/ Tally Brown photographed by Francesco Scavullo in 1969 /

"... but the most magnificent, inimitable fräulein is the zaftig subject of Tally Brown, New York (1979) - a must-see for all those interested in performance and the cultural history of New York in the 70s. The bewigged Miss Brown, with false eyelashes capable of sending her short, round body aloft, is the most mesmerising raconteur and cabaret artist you’ll hear all year. Opening the film with her indelible cover of David Bowie’s “Heroes,” Tally concludes with “Rock ‘n’ Roll Suicide,” performing that song’s line – “You’re not alone! / Give me your hands”—as a rallying cry far more rousing than several decades’ worth of tepid gay-rights chants."

Melissa Anderson reviewing Tally Brown, New York in The Village Voice in 2003

/ Tally Brown photographed by Francesco Scavullo in 1969 /

Watching Tally Brown, New York (1979), I couldn’t help but think: thank god, a filmmaker documented this remarkable, charismatic and completely original woman. And that it was someone as simpatico as queer New German cinema maverick Rosa von Praunheim.

Von Praunheim weaves a revealing portrait of chanteuse, actress, show business doyenne, bohemian earth mother and all-round diva Tally Brown (1924 – 1989), preserving both her riveting nightclub act and her personal offstage life. And good thing he did as Brown -  a vivid scene-maker in New York’s underground art subculture in the sixties and seventies - seems to have completely fallen through the cracks in the decades following her death. A Torch for Tally – the blues album she recorded in the fifties – is long forgotten. The Andy Warhol art movies she appeared in like Camp (1965) and Ari and Mario (1966) languish unseen in locked vaults at The Warhol Foundation (I managed to catch them when the British Film Institute held a comprehensive Warhol retrospective about ten years ago. Brown is magnetic in both). In 2017, Tally Brown barely seems to exist as a footnote.

/ Tally Brown photographed by Francesco Scavullo in 1969 /

The Barbican screened this ultra-rare documentary (in a grainy 16-millimetre print on loan from The New York Public Library for the Performing Arts) on 4 October as part of it’s The Grime and The Glamour:NYC 1976 – 1990 series devoted to “the wild days and night of New York’s coolest era”. As the title implies, von Praunheim positions flaming creature Brown - a native New Yorker - as the personification of her city’s decayed glamour. In atmospheric and beautifully degraded footage, we see seventies New York at its most gloriously scuzzy, grungy and decrepit: the porn cinemas and peepshows of Times Square, gay bathhouses, The Chelsea Hotel, neon signs, dive bars, dissolute nightclubs. And it all looks heavenly!

/ Tally Brown photographed by Billy Name in the sixties (almost certainly at Max's Kansas City). This shot is in Name's 1997 book All Tomorrow's Parties - the first time I ever heard of Tally Brown /

/ Lady sings the blues: Tally Brown in her youth /

Brown was a classically-trained (at Julliard) and adventurous singer with a disparate repertoire who regularly performed at venues like Reno Sweeney’s, SNAFU and gay bathhouse The Continental Baths. Onstage, we see Brown deliver jazz and blues standards (like “Goody Goody” and an intense, emotionally tormented version of Kurt Weill’s “Surabaya Johnny”) with commanding authority. But she also had a penchant for wittily and radically re-interpreting modern rock music like “Love in Vain” and “You Can’t Always Get What You Want” by The Rolling Stones. She was especially partial to David Bowie. In the film we see her cover “Heroes” (she sings the final verses in Marlene Dietrich-like German), an eerie “Lady Grinning Soul” and “Rock’n’Roll Suicide.” Accompanied only by a pianist, Brown transforms the Bowie tracks into perverse torch songs. Call me a heretic but I’m no “rockist” or Bowie fan, so I prefer Brown’s slinky, dramatic, tortured and Eartha Kitt-like versions to the originals.

Brown moved in avant-garde circles and in von Praunheim’s film we encounter a pantheon of the era’s countercultural hip queer elite, including her friends Taylor Mead (his drooling village idiot antics are either enchantingly childlike or grating depending on your sensibility) and the effervescent, self-deprecating Holly Woodlawn. A silent Andy Warhol is briefly seen (but not interviewed). At one point No Wave “it girl” Anya Phillips performs an abject burlesque routine to a bar full of indifferent men. A glittering, turbaned Eartha Kitt is viewed carried aloft on the shoulders of a semi-naked African-American bodybuilder (she was then starring in the Broadway production of Timbuktu). For Divine fans the film offers a bonanza. We see him offstage with his own cropped greying hair, clad in a red kaftan and then onstage in full drag in a fragment of the 1978 stage production The Neon Woman. Post-show Brown “interviews” Divine backstage and jokes about regularly getting mistaken for him - and even signing autographs as him.

/ Above: Eartha Kitt as she appears in Tally Brown, New York (costumed for the musical Timbuktu) /

/ Divine and Tally Brown /

/ Divine (as Flash Storm) backstage during a performance of The Neon Woman at Hurrah in New York, 1978 /

/ Grace Jones and Tally Brown /

In an ideal world Brown would be revered as a LGBTQ icon. Certainly, she has qualities that should make her catnip for aficionados of camp. For one thing, Brown looks like an escapee from a John Waters film. Squint and she can resemble both Divine and Edith Massey. Her highly individual and distinctive appearance is extreme and drag queen-like. She favoured white powder, heavy black eye shadow, false eyelashes as thick as tarantulas and huge, ratty bouffant wigs. (Judging by the film, she also chain-smoked like a demon).  Brown’s plump feline face can evoke both Kewpie doll or Kabuki mask.

/ Tally Brown in the underground film Scarecrow in a Garden of Cucumbers (1972) /

And she was zaftig. Or Rubenesqe. Hell, the rotund Brown was frankly and defiantly fat and owned it. Von Praunheim shows her visiting a much-younger artist ex-lover who lives in The Chelsea Hotel. Asked what attracted him to Brown, he explains it was her sensuality and confidence about her size, likening her to “a fertility goddess … like the Venus of Willendorf.” Unfortunately, by the time von Praunheim made this film, Brown’s body was a ruined temple. Following an accident that shattered her knee, she relied on a cane and lived with a degree of immobility and pain.

Tally Brown, New York is most enthralling when von Praunheim simply follows Brown wandering around her local neighbourhood as she shields her vampiric pallor with a pink parasol, just like Vampira or Lily Munster. Or visiting her elderly mother in Florida (which Brown dismisses as “a geriatric ghetto”). The Floridian sunbathing seniors in pastel-coloured leisurewear stare aghast as Brown passes by. During these segments, accomplished raconteur Brown extemporises on the soundtrack about the vagaries of life on fringes of show business (she speaks with maternal tenderness about fallen Warhol superstars doomed to die young like Ingrid Superstar, Andrea Feldman and Candy Darling), her encounters with the Mafia, her love of marijuana (she was initiated into smoking reefer by jazz musicians and is contemptuous of “the Woodstock generation” embracing it). Her speaking voice is posh, cultured (she’s clearly had elocution lessons) and reminiscent of Eartha Kitt’s or Elizabeth Taylor’s. Brown got her start singing rhythm-and-blues in sleazy burlesque joints and her preferred audience was old strippers and young sailors. Asked about singing at The Continental Baths, she purrs that it turned her on. (“I love real decadence …”). As well as New York and Florida, the film shuttles to other places Brown lived over the years while touring in theatrical productions such as The Pajama Game, Medea and Mame, including Las Vegas, Hollywood and New Orleans. Wherever she performed, Brown immersed herself in the local demi monde. In Vegas she embraced a nocturnal lifestyle, performing three or four shows daily and then not sleeping for days at a time – perhaps outing herself as speed freak? Brown reminisces about partying with the drag queens of New Orleans’ French Quarter while von Praunheim shows us a leather man in chaps loitering outside a gay bar, his furry ass exposed in a pair of chaps. Ah, the low-life of Bourbon Street! Basking in Tally Brown’s ambience for 93-minutes is intoxicating.