Most Helpful Customer Reviews
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13 of 14 people found the following review helpful:
4.0 out of 5 stars
Brave attempt to capture the character and her surroundings, 15 Sep 2007
This film had been given unprecidented lousy write-ups before it even appeared. Certain musical icons had bees in their bonnets and may have even taken legal action to prevent their likenesses being portrayed and their reputations taking a little dent. This has resulted in the biopic of Edie Sedgwick having more than a few telling ommissions. A pity.
The 'Factory' environment has been brilliantly recreated and peopled with Warhol cohorts (some of whom were active participants in the film's making) such as Bridget Polk, Richie Berlin, Ondine and Gerrard Malanga. I wanted to see how the other assorted 'Factory' women reacted to Edie's presence. Where were Maureen Tucker, Viva, Candy Darling and Betsey Johnson? (who would use Edie as her first major model and would briefly marry John Cale). I was glad to see Ingrid Superstar (an uglier Edie) do her fabulously inept screentest but feature a flawless Edie impersonation. A telling moment and brilliantly turned.
Edie was an active participant herself in the film 'Ciao Manhattan', when work was resumed in 1970; the film obviously was mined for visual reference in 'Factory Girl', but not mentioned while tracing Edie's life.
Despite these criticisms, I actually think the film is a great acheivement. Edie's clothes and make-up are beautifully recreated. The film also features the most believable portrayal yet of Andy Warhol. Guy Pearce has Warhol's voice and mannerisms down pat. The Andy-Edie symbiosis is brought to life colourfully and with great wit. Andy's religious nature is touched on, as is Edie's painful relationship with her father.
A brave and enjoyable film.
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7 of 8 people found the following review helpful:
3.0 out of 5 stars
Good performances, but a rather tepid and tame biopic, 18 Nov 2007
Factory Girl is the story of the comet-like rise and fall of Edie Sedgwick (Sienna Miller), an elfin Sixties society girl who briefly found fame (or infamy) as part of Andy Warhol's New York clique and who died of a barbiturate overdose at the tragically young age of 28. The root causes of her self-destructive behaviour are hinted at: her aggressive father, Fuzzy (James Naughton), who may have sexually abused her as a child, a brother who committed suicide at Silver Hill, a rehabilitation facility to which his father had sent him, and rich parents who seem to have been only financially, rather than emotionally, available to her. But the scenes with a therapist in Santa Barbara, which frame this film, offer little more than bland pop psychology and the narrative fails to convincingly flesh out the motivating forces behind her escalating drug use and the emotional loneliness that had her, in the end, at the throat.
Edie was already well known in NY high society in January 1965 when she first met Andy Warhol (superbly played by Guy Pearce), but it is the latter who, in this version at least, makes her famous. The factory - his infamous silver-walled loft on 231 East 47th Street - seems to have provided her with a substitute family and an ersatz father, who acted with equal ambivalence towards her in the end. If he wasn't borderline autistic, Warhol was brutally emotionally detached from everything that happened around him and to him ("it's just so much easier to be detached" he says here, knowingly). Edie's unabashed openness and her immediate emotional responses to her experiences seemed to free Warhol, albeit vicariously and fleetingly, from his own highly-controlled, disturbed behaviour. The director George Hickenlooper and screenwriter Captain Mauzner implicitly villainize Warhol for not paying her for her work (he hands her only a 50-dollar bill wrapped in red ribbon) and for abandoning Sedgwick when her drug abuse got out of hand (in the restaurant scene he is passive and unmoved; he simply observes her meltdown).
In contrast, Sienna Miller plays Edie as pure victim, a moth drawn to the white-hot spotlight, who pays for her friends to buy their admiration. Warhol was, according to Hickenlooper and Mauzner, hissily jealous of Edie's flirtations with "a famous 1960s folk singer", who for legal reasons they could not name as Bob Dylan (he threatened to sue for defamation). In the film, this musician (Hayden Christensen) sleeps with Edie - something Dylan himself has disputed - and encourages her to reject the phoniness of the Warhol scene and to recognise her own emotional emptiness ("You're as empty as your friend's soup can," he tells her here, rather glibly). Christensen is made to look startlingly like Dylan did circa 1965, but his impersonation is a bit too slick to be credible (it is - it must be said - a difficult task). Miller, too, looks impressively like Sedgwick and conveys her quirkiness, her mannerisms and her vitality well. But she fails, I think, to convince us of Edie's specific appeal and Sedgwick's emotional fragility and her vulnerability evident in even the coarsest Warhol films remain largely unexpressed. Pearce, on the other hand, plays Warhol with aplomb: with an eerily vacant gaze, Pearce shows how Warhol used Sedgwick as a vicarious mirror, wanting to be or become her rather than simply hang out with her. His narcisstically parasitic behaviour is, in this respect, not unlike that of Truman Capote's in In Cold Blood: vain, self-regarding and ultimately bereft of much humanity.
By pitting the Dylan character against Warhol, the film manufactures a facile opposition between Dylan's world (authenticity) and Warhol's surfaces (artificiality). For Segwick, you feel, life must have been an awful lot more complex than that. Hickenlooper doesn't actually show her drug-fuelled, self-destructive death a year after she left therapy. Instead, we hear comments from her living relatives (a brother) and friends (Richie Berlin) as the credits roll; in their words we finally get a feeling for her charisma, her idiosyncratic gamine beauty and her tragic relationships. These closing comments make you realise how fascinating this biopic, which ultimately comes across as rather superficial and simplifying, could have been.
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9 of 13 people found the following review helpful:
4.0 out of 5 stars
Intelligent & Perhaps Underrated, 19 Jul 2007
Manipulating, commercial & sentimental? Perhaps. But the story of Edie Sedgwick deserved to be retold - not least because it exposes an influential artist (Andy Warhol) - not as a monster, but as a creator who uses his fellow humans as tools & vessels for his art. Countless artists have done so over the ages, but that doesn't make the issue less overwhelming each time. Here the "victim" is Edie Sedgwicks, in a movie chronicling her rapid rise & fall as a star discovered by & dependent on Andy Warhol & his art "Factory".
Other artists, including real-life rock legend Lou Reed, have come out strongly against this movie. But right or wrong, the story does address a good deal of hype, including some that surrounded Reed's celebrated "concept band" at the time, Velvet Underground. Not least the band's front figure Nico, portrayed here not as a sacred diva, but as a cool, Germanic, perhaps somewhat superficial beauty, dangerously close to a Helmut Newton photo model.
I have no agenda against either Velvet Underground or Andy Warhol, both of whom were innovators of genius. But the time may have come to nibble at them a bit - especially at Warhol who, to be sure, has been negatively portrayed before, but whose notorious distance toward the aspects of life not "relevant" to his self-expression, is worth recalling again.
If these topics - the nature & cost of creative power, pop culture, & violent emotional dependency - have your interest, I urge you to see the film & bestow your own judgment, negative or positive, without being too swayed either by established media or by implicated artists.
Note on the acting: Clearly, the acting styles of Sienna Miller (Edie) & Guy Pearce (Andy W) are too self-conscious & ethereal to be for everyone's taste. Personally though, I was carried away.
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