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I Shot Andy Warhol (1996)

R  |   |  Biography, Drama  |  1 May 1996 (USA)
6.6
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Ratings: 6.6/10 from 5,250 users   Metascore: 75/100
Reviews: 39 user | 40 critic | 20 from Metacritic.com

Based on the true story of Valerie Solanas who was a 60s radical preaching hatred toward men in her "Scum" manifesto. She wrote a screenplay for a film that she wanted Andy Warhol to ... See full summary »

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Cast

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Stevie
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Iris (as Anna Thompson)
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Alan Burke
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Gerard Malanga (as Donovan Leitch)
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Paul Morrisey (as Reg Rodgers)
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Tom Baker
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Myriam Cyr ...
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Storyline

Based on the true story of Valerie Solanas who was a 60s radical preaching hatred toward men in her "Scum" manifesto. She wrote a screenplay for a film that she wanted Andy Warhol to produce, but he continued to ignore her. So she shot him. This is Valerie's story. Written by Jason Ihle <jrihl@conncoll.edu>

Plot Summary | Add Synopsis

Taglines:

You only get one shot at fame.

Genres:

Biography | Drama

Motion Picture Rating (MPAA)

Rated R for strong sexual content, language, drug use and brief violence | See all certifications »

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Details

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Release Date:

1 May 1996 (USA)  »

Also Known As:

Ela Baleou Andy Warhol  »

Box Office

Gross:

$1,814,290 (USA)
 »

Company Credits

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1.85 : 1
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Did You Know?

Trivia

Mary Harron was inspired to write the movie after reading the SCUM Manifesto, the anti-men rhetoric Valerie Solanas published in the 1960s. See more »

Goofs

An end credit claims that Candy Darling died in 1975; she actually died in 1974. See more »

Quotes

Valerie Solanas: [on the phone] What's your name?
Jeremiah Newton: Jeremiah.
Valerie Solanas: Oh, and what do you look like Jeremiah?
Jeremiah Newton: Tall and I have long brown hair. What do you look like?
Valerie Solanas: A butch dyke.
[hangs up]
See more »

Connections

References Rebel Without a Cause (1955) See more »

Soundtracks

Burned
Written by Neil Young
Performed by Wilco
Courtesy of Reprise Records
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User Reviews

 
Intelligent Treatment Of True-Life Attempt On Warhol's Life
28 December 1998 | by (London, England) – See all my reviews

Lili Taylor is astonishingly good as the bright but highly-disturbed woman who tried to kill the celebrated non-artist. We see the story told in dislocated flashback as the would-be assassin Valerie Solanis is arrested and interviewed after the shooting. Home movie footage is poignantly interleaved with Valerie's matter-of-fact admissions.

Having been abused as a child, and sexually promiscuous before puberty, Solanis developed a strong antipathy towards men during her student years at the University of Maryland. She financed her degree course by means of prostitution. The film shows her living rough in New York City between 1966 and 1968, begging, soliciting for sex and performing radical street theatre.

She is drawn into the twilight world of Warhol's 'court' of phoneys and hangers-on, a disturbed New York wise-ass who demands recognition but who will never be taken seriously by these Beautiful People.

Jared Harris plays Warhol beautifully as the inarticulate, vacuous fraud at the head of a sham 'movement'. Significantly, Warhol does not get involved in whatever's going on. A Warhol film is being shot in The Factory, but we learn that Andy won't be around today. A drug-besotted 'happening' takes place under the Warhol aegis, but Andy stays on the margins, even of the sex - his purpose is to hit on the wealthy voyeurs who turn up at his parties.

As Warhol the cynical manipulator grows in media credibility, Solanis is reduced to peddling squalid sex and copies of her manifesto around Greenwich Village. It is clear that she has been 'dropped' by the court of Queen Drella. She becomes increasingly embittered, feeling that Warhol is exploiting her writings, and her behaviour deteriorates into violence and incoherence. When she shows up in the same old rags at the newly-gentrified Factory, we grasp what she can't - that the gulf between her and these parasites with savvy is unbridgeable.

Solanis beds a fellow weirdo, and acquires a gun from him. We see their drug-induced disorientation in a sequence of crash-edits, a knowing reference to the pop style of sixties film-making.

This is a very shrewd and very watchable film. It damns Warhol, but is none the worse for that.


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