5.8/10
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2 user 4 critic

I a Man (1967)

About a male hustler who talks with and sleeps with a series of women.
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Cast

Complete credited cast:
Tom Baker Tom Baker ... Tom
Nico ... Nico
Valerie Solanas Valerie Solanas ... (as Valerie Solanis)
Ingrid Superstar Ingrid Superstar
Ultra Violet
Ivy Nicholson Ivy Nicholson
Bettina Coffin Bettina Coffin ... Tina
Cynthia May Cynthia May
Stephanie Graves Stephanie Graves
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Storyline

About a male hustler who talks with and sleeps with a series of women.

Plot Summary | Add Synopsis

Genres:

Drama

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

24 August 1967 (USA) See more »

Also Known As:

Yo, un hombre See more »

Filming Locations:

New York City, New York, USA

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

According to a 2004 biography Andy Warhol approached Doors singer Jim Morrison to star opposite Nico in the lead role (the project was at that time titled "Fuck"). Morrison reluctantly agreed but was talked out of it by the Doors management and sent drinking buddy Tom Baker along to the shoot instead. See more »

Connections

Referenced in 1968 (2018) See more »

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User Reviews

Warhol's weakest
11 August 2001 | by nunculusSee all my reviews

How great is Valerie Solanas? In her vignette in this highly Paul

Morrissey-accented porno spoof, she stands in a poorly lit hallway

and rebuffs the star, Tom Baker's, attempts to bed her. Her

rapidfire delivery suggests a long-term study of 1930s third and

fourth bananas--gum-chewing wisecrackers handed a scene's

one good and last line. If only Andy had given her the Ingrid

Superstar treatment instead of shutting her out in the cold, things

would've been so different--Warhol would've gone on making good

movies, and Morrissey would have had no career.

There is also a spicy and almost mesmeric sequence with the

extraordinary Nico, who, in addition to all her other qualities, is

infinitely more able to act improvisationally than the cloddish

nonactors assembled here. Baker, the straightest, most earnest

and dullest figure ever put at the center of a Warhol movie, has no

gift for impromptu dialogue; the women opposite him generally

don't either. The film is long and draggy; it resembles the

"recitative" sections between sex scenes in an early-seventies

porn movie. It seems not particularly Warholian but quite

Morrisseyan--it recalls the worst of Morrissey. (One big laugh line

comes when Baker interrupts the beginnings of sex with a

stoned-seeming woman to spray a passing cockroach.)

The film is also, in the worst Morrissey fashion, obsessed with a

microscopic study of physical uglinesses. It often induces

gagging.


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