Factory Girl (2006)

Based on the rise and fall of socialite Edie Sedgwick, concentrating on her relationships with Andy Warhol and a folk singer.

Director:

George Hickenlooper

Writers:

Captain Mauzner (screenplay), Simon Monjack (story)

Stars:

Sienna Miller, Guy Pearce, Hayden Christensen

1 nomination.

Cast

Cast overview, first billed only:
Sienna Miller	...	Edie Sedgwick
Guy Pearce	...	Andy Warhol
Hayden Christensen	...	Musician
Jimmy Fallon	...	Chuck Wein
Jack Huston	...	Gerard Malanga
Armin Amiri	...	Ondine
Tara Summers	...	Brigid Polk
Mena Suvari	...	Richie Berlin
Shawn Hatosy	...	Syd Pepperman
Beth Grant	...	Julia Warhol
James Naughton	...	Fuzzy Sedgwick
Edward Herrmann	...	James Townsend
Illeana Douglas	...	Diana Vreeland
Mary Elizabeth Winstead	...	Ingrid Superstar
Don Novello	...	Mort Silvers

Storyline

A beautiful, wealthy young party girl drops out of Radcliffe in 1965 and heads to New York to become Holly Golightly. When she meets a hungry young artist named Andy Warhol, he promises to make her the star she always wanted to be. And like a super nova she explodes on the New York scene only to find herself slowly lose grip on reality...

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Plot Keywords:

public nudity | female nudity | father daughter incest | dysfunctional family | sex scene | 

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Taglines:

When Andy met Edie, life imitated art.

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Genres:

Biography | Drama

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Motion Picture Rating (MPAA)

Rated R for pervasive drug use, strong sexual content, nudity and language

Details

Official Sites:

Official site

Country:

USA

Language:

English Slovak French

Release Date:

16 February 2007 (USA)

Also Known As:

Factory Girl

Filming Locations:

Bossier City, Louisiana, USA

Box Office

Budget:

$7,000,000 (estimated)

Gross USA:

$1,675,241

Cumulative Worldwide Gross:

$3,572,632

Company Credits

Production Co:

The Weinstein Company, L.I.F.T. Production, Holly Wiersma Productions

Technical Specs

Runtime:

99 min (unrated)

Sound Mix:

SDDS Dolby Digital

Color:

Color Black and White

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

Andy Warhol's mother speaks Czech. His family came to Pittsburgh from Slovakia, which borders the Czech Republic. Throughout Warhol's life (1928-1987) the Czech and Slovak nations were joined as Czechoslovakia, which existed from 1918-1992.

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Goofs

When Sam first points out Edie Sedgwick to Andy Warhol, Gerard Malanga stands between Sam and Andy with a video camera. In the next shot, Gerard is standing right in front of Edie videotaping her. A couple of shots later you see Gerard standing between Sam and Andy again.

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Quotes

Andy Warhol: I wonder if people are going to remember us?
Edie Sedgwick: What, when we're dead?
Andy Warhol: Yeah.
Edie Sedgwick: Well, I think people will talk about how you changed the world.
Andy Warhol: I wonder what they'll say about you... in your obituary. I like that word.
Edie Sedgwick: Nothing nice, I don't think.
Andy Warhol: No no, come on. They'd say, "Edith Minturn Sedgwick: beautiful artist and actress...
Edie Sedgwick: ...and all-around loon.
Andy Warhol: ...Remembered for setting the world on fire...
Edie Sedgwick: ...and escaping the clutches of her terrifying family...
[...]

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Crazy Credits

During the first part of the end credits, photos are shown of the real Edie. Also people who knew her give testimonies about her.

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Connections

Featured in Great Movie Mistakes (2010)

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Soundtracks

Sally Go Round the Roses
Written by Abner Spector
Performed by The Jaynetts
Courtesy of Original Sound Entertainment

User Reviews

Hollywood factory rather than Warhol Factory - but is that bad?

During my brief stay at art school I only once produced anything my teachers thought worthwhile. It was a painting made under the influence of LSD, a psychedelic drug. I never did anything of equal quality before or afterwards, with or without chemicals. I didn't know it, but the drug had temporarily distanced my interfering conscious mind so some inner creativity could take over. The artist Andy Warhol would 'distance' himself as a way of life, with or without chemicals. In his own words, "The more you look at the same exact thing, the more the meaning goes away, and the better and emptier you feel." Not only did he direct attention to something till it lost its meaning, he brought a new 'meaning' out of the emptiness - an iconic and very memorable 'meaning'. He could do it with silkscreen prints, with cinema and, when they let him, with people. One of those people was Edie Sedgwick, the 'Factory Girl.' Edie (Sienna Miller) leaves her best friend and her art class to head off to the Big Apple. She gets herself noticed by rising artist Andy Warhol (Guy Pearce from Memento) who sees a certain something in her. For a while she holds an almost muse-like hold over him. He successfully launches her as a celebrity in underground films made at 'The Factory'. But her attention wanders to a Bob Dylan -like character who is artistic in a different way; articulate and heterosexual. Warhol loses interest. With no firm artistic anchor, she descends into a downward drug spiral, eventually blaming Warhol for her inability to get work. We see a magnificent performance by Miller, but only a sentimental hint of the star quality of Edie that Warhol developed. This artsy Sedgwick tribute could have been better served by using the insights and techniques of the Warhol Factory that it so trendily references, simultaneously bridging the acrimony that has blown out of proportion with her supporters and those of Warhol.

Guy Pearce delivers a very acceptable performance. Hayden Christensen, playing a fictional character so obviously meant to be Bob Dylan, is ludicrously weak, having none of the self-containment and gravitas of a great musician and poet, even a young one. Sienna Miller is a revelation, and worthier of a much better film than this one, which is flawed by poor conceptualisation. Even before it was completed, Factory Girl alienates the people who could have helped to make it great.

Some of the Factory denizens who bought into and eventually shared Warhol's artistic vision became products of his genius in a conscious way. They achieved independence and recognition in their own right. People like Paul Morrissey, the Velvet Underground (including Lou Reed, John Cale, and Nico). Edie Sedgwick, sadly, lost sight of the artist within her and never quite made it. She wanted to be famous - Warhol gave her that. She would have needed her own creative diligence to consciously realise what made her a star and so become autonomously successful.

To be fair to the film, the complaints, lawsuits and criticisms of the likes of Lou Reed and Bob Dylan seem without substance. The film does not blame Warhol or Dylan for Sedgwick's demise. The panda-eyed, drug-abusing wash-out that is the Sedgwick nearer the end of the movie does, but the audience can hardly say anything except she brought about her own downfall: she ingratiated herself to Warhol and his world when she was a nobody without even a job, then moaned that she couldn't work when he dumped her, when in fact she was obviously unemployable because of her drug habit.

The film's only real crime is perhaps that it celebrates the life of Edie rather than Andy, and that not particularly well. Seeing her at her height through the eyes of Andy Warhol would have achieved much more. Both 'sides' of the bitter split between the two of them agree she had, at one point, remarkable presence, charisma, and on screen talent. An occasionally more Warholian approach to the cinematography, while keeping the film accessible, could have emphasised such qualities with self-conscious camera-work and other devices. Instead, we have determinedly Hollywood-style continuity-editing. Warhol devices such as split-screen are used for window dressing rather than any discernible emotional impact. Similarly, variations in film stock pay lip service to a Warhol vibe rather than building an awareness of Edie's inner persona.

Warhol was not only the most famous exponent of Pop art, but one of the most important exponents of New American Cinema. His techniques influenced both Hollywood and experimental film, and his style affected censorship laws and developed the 'camp aesthetic' (defined by Susan Sontag as, "the love of the exaggerated, the 'off', of things being what they are not"). Factory Girl capitalises on the name, but is mainstream through and through.

If the producers had worked with people of real vision; if they had secured song rights for music by Velvet Underground and Bob Dylan (which would have helped establish historical and cultural context); if they had portrayed the beauty and sparkle of Edie Sedgwick through the eyes and genius of Warhol or someone like him; if they had made insightful recognition of her weakness and her greatness, then this could have been a work of art. For Warhol and Dylan enthusiasts it is full of Campbell's Soup Cans and shots reminiscent of album covers - but without depth. Some will see a slightly offensive depiction of Warhol as a bloodsucker (he didn't pay the experimental artists who gathered in his studio or appeared in his films). For more casual viewers it is a slightly poignant story of the rise and fall of a quintessential American IT girl in a Pop Art universe bursting with sex, drugs, art and rock 'n' roll. Factory Girl is Hollywood factory rather than Warhol Factory. But should it be decried because of that?