Holly Woodlawn, Lou Reed, and the Wild Side of Avant-Garde Film
By Che DuBois
Scarecrow in a Garden of Cucumbers (1972) is a quirky and offbeat experimental film directed by Jack Smith, best known for his avant-garde works and his connections to the underground art and theater scenes. The film is a strange and surreal tale that blends bizarre humor, camp, and unconventional performances, fitting perfectly within the experimental, countercultural wave of the early ’70s.
The story itself follows a collection of odd characters—the film features a transgressive narrative, with themes of sexuality, identity, and artistic expression. It was created as part of a larger movement of subversive cinema, taking aim at traditional filmmaking by introducing abstract, symbolic scenes and pushing the boundaries of what was deemed acceptable in cinema at the time. It’s a film that invites the viewer into a world that’s both playful and disturbingly avant-garde.
One of the most interesting connections to Scarecrow in a Garden of Cucumbers lies in Holly Woodlawn, a notable figure in the Warhol Factory scene. Woodlawn, who was a transgender actress and performer, appeared in the film and was closely associated with the underground world of New York’s arts and drag scene. She was also featured in Warhol’s Trash (1970), cementing her place as one of the most significant transgender icons of the time. Holly’s character in Scarecrow in a Garden of Cucumbers is, of course, as avant-garde and enigmatic as the film itself.
An interesting anecdote ties Lou Reed to Holly Woodlawn and Scarecrow in a Garden of Cucumbers. Lou Reed, who was also part of the Warhol scene, famously wrote the song “Andy’s Chest,” which was inspired by Holly Woodlawn and her dynamic persona. The connection to Woodlawn and Reed is even more significant in the context of this film, as she became a muse for Reed, much like Edie Sedgwick had been for Warhol earlier. In fact, Reed’s song “Walk on the Wild Side” (1972) includes a famous reference to Holly Woodlawn, with the lyric “Holly came from Miami, F.L.A.,” which immortalized her in pop culture and echoed the underground world they both inhabited.
Despite Scarecrow in a Garden of Cucumbers being largely overlooked by mainstream audiences, it became a key part of the underground cinema movement. Holly Woodlawn’s involvement in the film and her ties to Lou Reed’s music helped elevate the film’s cultural significance, making it more than just an experimental project—it became a part of the larger cultural narrative surrounding New York’s 1970s avant-garde and counterculture scene.
Ultimately, Scarecrow in a Garden of Cucumbers is a fascinating slice of countercultural history, and the connection between Holly Woodlawn, Lou Reed, and the world of underground film is a reminder of how art, film, and music intersected in the most unique and creative ways during that era. The song “Walk on the Wild Side” continues to be a tribute to the people who helped define the freaky, flamboyant, and rebellious spirit of the time, including the unforgettable Holly Woodlawn.
—CD
