... if you can overlook [Robinson's] self-indulgent style, A Walk Into the Sea offers fascinating glimpses of the Warhol scene in the early 1960's.
A Walk Into the Sea: Danny Williams and the Warhol Factory (2007)
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Reviews Counted:22
Fresh:17
Rotten:5
Average Rating:6.3/10
Consensus: A portrait piece of Danny Williams, set amongst New Yorks Factory, home of Andy Warhol, provides insight and flavour of the time and the setting, with an unresolved mystery at its heart.
Theatrical Release:Dec 14, 2007 Limited
Synopsis: In 1966, Danny Williams--a filmmaker and Warhol Factory regular who was for a time Andy Warhol's lover--disappeared. Williams had made more than 20 films featuring, among other Factory habitués,... In 1966, Danny Williams--a filmmaker and Warhol Factory regular who was for a time Andy Warhol's lover--disappeared. Williams had made more than 20 films featuring, among other Factory habitués, Paul Morrissey, Edie Sedgwick, and the Velvet Underground; he also designed Warhol's historic Exploding Plastic Inevitable light show. This documentary by Williams's niece, Esther Robinson, pieces together the last year of her uncle's life. Employing footage from Williams's rediscovered films, interviews with Factory members, and painful family memories, WALK INTO THE SEA offers an intriguing portrait of a forgotten figure, and a hidden history of the Warhol art machine. [More]
Starring: Brigid Berlin, John Cale, Albert Maysles, Billy Name
Starring: Brigid Berlin, John Cale, Albert Maysles, Billy Name, Paul Morrissey, Chuck Wein, Danny Fields
Director: Esther Robinson
Director: Esther Robinson
Producer: Esther Robinson, Doug Block, Tamra Raven
Composer: T. Griffin
Studio: Arthouse Films
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Reviews for A Walk Into the Sea: Danny Williams and the...
Robinson is his niece and, though she affects a needlessly shaky, blurry style at times, she does her uncle's creative work justice.
Unsuprisingly, Robinson never really gets anywhere either, but her film at least gives a convincing flavour of the time.
Two other documentaries are released this week at the Institute of Contemporary Arts in London. A Walk into the Sea, by Esther Robinson, is the better of the two.
Not what it wishes to be - it's actually a cautionary tale on the abuse of amphetamines.
First-time director Esther Robinson proves that a dash of subjectivity in documentary isn’t always a bad thing, showing a remarkable clarity of vision and thirst for knowledge in her superb ‘A Walk Into the Sea: Danny Williams and the Warhol Factory’.
A Walk into the Sea traps us in an odd and compelling purgatory, one that’s unable to answer the central question of what happened to Williams, yet still resolves with its own sense of satisfaction.
Combining contemporary interviews with Factory survivors and an astounding treasure trove of archival footage shot by Williams himself, the film is an enigmatic, atmospheric portrait of a guy apparently too nice for the notorious Warhol crowd.
Much more carefully shot and lit than most of the Factory output, [Williams's films] do suggest a talent and intelligence that might have led somewhere interesting.
What's shown is undeniably elegant, which unfortunately only points up Robinson's technical ineptitude.
We'll probably never know what became of Williams, but his short life and mysterious disappearance make for diverting viewing.
In her search for her uncle, [director Esther] Robinson discovered something quite unexpected: A startlingly talented filmmaker.
A Walk Into the Sea is Esther B. Robinson’s documentary about Danny Williams, a former Harvard student who was a part of Andy Warhol’s Factory scene.
Even if we don't expect to learn much new from another analysis of the irrational, the glimpses of the illusions of the Warhol period, and the work of Danny Williams, are not enough to keep this pic afloat.
The result of the interviews is the most vivid, and perhaps most damning, portrait of Warhol seen on film.
A Walk In The Sea is at its best when [director] Robinson contrasts the haziness of the Warhol crowd with the specificity of Williams' family, who can recall every anecdote he ever told them, including every perceived slight.
While there is nothing here that will surprise Warhol aficionados, Robinson's interpolation of her uncle's ephemeral, slo-mo images lends a haunting authenticity to the talking heads recollections.
Comprised of confused, conflicting recollections, and opinions that lead to no concrete truths, the film proves a case study in unknowability.
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