Cast:
Lili Taylor (Valerie Solanas), Jared Harris (Andy Warhol), Stephen Dorff (Candy Darling), Martha Plimpton (Stevie), Lothaire Bluteau (Maurice Girodias), Anna Levine (Iris), Peter Friedman (Alan Burke), Tahnee Welch (Viva), Jamie Harrold (Jackie Curtis), Donovan Leitch (Gerard Malanga), Jim Lyons (Billy Name), Michael Imperioli (Ondine), and Reg Rogers (Paul Morrissey) Directed by Mary Harron (#1984 - American Psycho)
Review:
I suppose this is the best way to dip the toes into the world of Andy Warhol. Once upon a time, Mary Harron was in the punk scene and into The Velvet Underground, the rock band with a distinct influence within the underground scene that mixed right in with Warhol being their manager from 1966 to 1967. In college, Harron had written a piece about Warhol and his work for a university magazine and even spent time looking upon his movies. When she became a music writer, she was fortunate enough to have a brief interview with Warhol around his studio of The Factory (he subsequently died in 1987). A couple of years later, when working in television, she did research for a Warhol documentary and happened to come across the SCUM Manifesto (self-published in 1967 before becoming commercially published in 1968 through Maurice Girodias and his Olympia Press) in a store that interested her because for all the footage and interviews one knew of Warhol and the Factory, one name never really came up with Valerie Solanas. Her interest in doing a documentary happened to crisscross with Tom Kalin and Christine Vachon in doing something...as a film. Harron co-wrote the film with Daniel Minahan (with research by Diane Tucker along with having certain dialogue come from Jeremiah Newton's edited compilation The Letters and Diaries of Candy Darling) and the movie had funding from a variety of companies such as Killer Films and Goldwyn Films International. John Cale of the Underground wrote the music score for the film despite disagreements with Lou Reed. The movie made a bit of money and was enough of a hit with its screening at Sundance that the offer to do the script for American Psycho came right afterwards. The years that followed the release of the movie is fairly interesting. The movie was released by a company that soon went bankrupt and the rights were in murky limbo for a time to where it was barely available on DVD and it apparently was once only available online through a rip on YouTube. Solanas had crafted a play called Up Your Ass that she had given a copy to Warhol that was accidentally misplaced - in 1999, it was rediscovered and produced in 2000 in San Francisco by George Coates Performance Works*. Further information about Solanas came around with the 2014 biography Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (and Shot Andy Warhol)*.
You might wonder what Solanas (a graduate of University of Maryland, College Park) has to offer in terms of a manifesto. Well, its opening declaration [with one word difference depending on the edition] states that women should "overthrow the government, eliminate the money system, institute complete automation and eliminate [destroy] the men" (incidentally, there are a few moments in black-and-white that depict stuff from the manifesto being read). She sold copies in bookstores and on the streets of Greenwich Village for $1 (unless you were a guy, then it was $2) and even appeared in one Warhol film with I, a Man (1967). One person associated with Warhol once stated that life around the sphere of Warhol ended up making them "all captives of Andy's magnetism and his outlaw culture". Amidst all of that, Solanas might as well be an imp to these self-obsessed people that can't quite get the recognition they believe they deserve,and Taylor carries the film to fascinating levels of curiosity. It isn't a lament of a "tortured genius" or just a "craven nut" but instead something that teeters in the irony that comes in so many contradictions that can be tragic along with being fascinating. There is a burning, acerbic spirit to her that you can't exactly shoo away as an irrational being because damn it, there are plenty of irrational people to go around anyway, even if most don't go around shooting people and getting their own spin of a bio-drama. Harris pulls in well with shades of vulnerability and elusiveness (without being a caricature to poke with) that you can't easily grab upon beyond the obvious that might as well reflect how one views Warhol and his art, for better or worse. The real Solanas spent time in a prison ward and periods of evaluation over her mental state (mainly the paranoid schizophrenia) before she essentially faded into obscurity by the late 1970s and died in San Francisco in 1988 at just the age of 52. Regardless of how one might view Solanas and her view of men (as represented by, say, this exchange here or this one), there is something quite fascinating about what Herron has captured here about someone who lived by their contradictions. As such, this is a worthwhile debut in its capture of a misfit that doesn't judge or defend but instead lets the images and words speak for themselves in entertaining fashion that is a strange little gem.
Overall, I give it 8 out of 10 stars.
*Apparently, Warhol was quoted in a book in the 1980s that he apparently glanced at the play and was more concerned with wondering if she was actually an undercover cop. By the way, that gunshot was brutal: he got shot in a way that had damage to his lungs, esophagus, liver, spleen, and stomach.
*For one thing, Solanas actually had children at a young age but had to give them away.
*honestly, the fact that there was an anarchic group named "Up Against the Wall Motherfucker" in the 1960s shouldn't surprise me.
