For a little love

Factory Girl brings forth the other side of the Andy Warhol phenomenon

by EMMA SCIANTARELLI

FROM ISSUE # 163 (July 2009) | IN THIS ISSUE
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Run Time: 99 mins
Director: George Hickenlooper
Cast: Sienna Miller, Guy Pearce, Hayden Christensen, Mena Suvari
Rating: 3.5/5

The king of pop art, Andy Warhol, questioned American consumerism just as big corporations began setting forth uniform, national ideals in the form of consumption, thus making him one of America's most celebrated artists.  While Americans everywhere began trying to 'keep up with the Jones's' by purchasing new washing machines, dishwashers and Kitchenaids, Warhol questioned the worth of the so-called 'American Dream' by painting rows of Campbell's soup cans.  Some called his work a mockery, that his print techniques proved he lacked any skill at all. But despite the criticisms, it's no doubt that Andy Warhol was one of the biggest influences in American modern art.

But who was Edie Sedgwick?  Even before Factory Girl, Andy Warhol was a household name, but Edie? She was a nobody.  Making a movie about Andy Warhol would have proven interesting enough, so why, instead, did the producers choose to make a film about the poor little rich girl who followed him around like a lost a puppy? It sounds like an idea gone awry, but the execution is beyond brilliant. Pushing Warhol from the forefront and bringing his most faithful follower and friend to the centre not only gave the audience an entirely different story, but gave even the most ardent Warhol enthusiast, a new perspective of the iconic artist. 

A fashion model from an established family, Edie gets discovered by the artist who asks her to act in one of his underground movies after which, she proves to be a loyal, regular part of Warhol's life.  She becomes fond of the quirky, yet shallow attention her platonic artist friend fawns upon her. So much so, that when Warhol's lack of real concern for her life and wellbeing becomes obvious, she finds it impossible to break away from him. As the money runs out, the hold drug addiction has on her life becomes all the more obvious. And on screen, the viewers watches the sad, downward spiral of a beautiful, young girl. 

From the eye of a critical movie watcher, there are two noteworthy things about Factory Girl: the cinematography and the editing. Every shot of the movie seems to have been taken with the exact theme and feel of the film in mind, even the editing is done in the same way. These two elements enhance the 1960s American vibe and create a mood, that makes it hard to take your eyes away from the screen, even if you don't care for the story so much.

Then there's the story. It's one of those stories that a viewer either totally gets, or doesn't get at all.  For me, watching the downward spiral of a girl with an immense amount of potential felt like something I'd seen a dozen times before, only this was the first time on screen. Edie and her confused need for love, but simultaneous inability to accept it when in an authentic form, reminded me of so many girls I know in real life. Albeit maybe not be drug addicts who prostitute themselves out, Edie's
self-destructive habits and her tendency to look for her self-worth in Warhol long after he stops caring about her, is similar to a lot of women.

Overall, Factory Girl is one of those movies that are only good with a lot of reflection. If you're not familiar with Warhol or American culture of the time, it's the type of movie that easy to write off. But if you can get past the things you don't know, you'll be able to see Factory Girl has a lot more layers than the average film.