Walk Into The Sea - Danny Williams And The Warhol Factory, A

The aura of Andy Warhol’s Factory always ensures a fascinating and entertaining subject for documentaries. For all the coherent and concise information on the subject, the talking heads who frequent such films, and Robinson’s film is exception, often disagree or, probably more often than not, cannot remember the precise facts about which they are talking. To be honest, it’s not surprising - the narcotic consumption that took place back in the 60s is legendary and the drug-hazed reminiscences and speculations often add an amusing edge to this potentially sad tale. Danny Williams was Warhol’s lover and a talented filmmaker who disappeared in 1966. It wasn’t until twenty of his films were discovered years later that many realised that he was a filmmaker.

There is no denying that Williams was present at, arguably, the birth of pop culture. Warhol was at his creative peak, producing many of his most famous pieces of art as well as working with The Velvet Underground and their Exploding Plastic Inevitable tour. The tour is where one of the film’s funniest moments occurs as we hear about the feuding projectors of director and Warhol manager, Paul Morrissey, and Williams. Morrissey was projecting images behind the band and Williams was in charge of lighting. Everyone has a different opinion of the fist fight that took place after an argument about cables but Morrissey has no recollection whatsoever.

Morrissey is just one of a large number of people that director Robinson has gathered together for the documentary. From Velvet Underground member John Cale to photographer Nat Finkelstein, Robinson demonstrates a deft line in questioning and reveals a more human, engaging side to the Factory members than is often shown. Bridget Berlin in particular is marvellous when she phones up a fellow member, who had in fact refused to partake in the film, to check if Williams was in fact Warhol’s lover.

Warhol’s films were static, sterile examples of art rather than cinematic pieces that pushed the boundaries of cinema. In fact most will find them interminably dull. Anyone who has sat through films like Flesh (1968) or Trash (1970)  will know what to expect from Williams’ similarly-styled work. A Walk Into The Sea does offer more to fans of the era than the uninitiated but even the latter will find Williams’ story an affecting one. The fact that his niece was inspired to get behind the camera only adds to the resonance of the documentary.

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