Um Tiro para Andy Warhol

Lili Taylor gives a savagely kinetic performance in this representation of a disturbed individual who may just also have been a genius despite, or because of, her treatment at the hands of various men throughout her life.

Judging biopics in terms of historical accuracy is for the most part a futile exercise. There is no 'truth', only interpretation, but if you want to get closer to the facts you really should be in the library, not the movie theatre. The story of Valerie Solanas is especially vexing in this case, because were this a work of complete fiction, the script would never have been made. The 'so what?' factor is superseded by the fact that this actually happened, and the legacy of Solanas still divides contemporary feminists.

As cinema, the film succeeds through the charisma exuded in Taylor's performance. Her descent into madness is sudden, vicious and uncompromising. The depiction of the shooting, the moment the film has been leading up to, shows a human being divorced absolutely from her conscience. The groovy scene around Warhol's the Factory is both decadent and, viewed from the 21st century, slightly twee. The pastiche of Sixties nostalgia is less foregrounded than Solanas's brutal victimhood. The film begins with a reading of her psychiatric evaluation, where a litany of unpunished crimes inflicted upon this woman by various men is laid out. The female director sets her stall out straight away - what you are hearing now leads through a direct line of cause and effect to the monstrous act you will see committed by Solanas later.

If the film has a major flaw, it is the title. Audiences could be mistaken for thinking it is about a documentarian of Warhol's life and work. Solanas and her SCUM manifesto, for better or worse, have made their mark, and perhaps 'Solanas' would have been a more fitting (if less marketable) title. Did it take the shooting for that to be the case? A polemical moment in recent history relayed straightforwardly, this is competent, entertaining, edifying cinema.

On 1968, Valerie Solanas (Lili Taylor) shots Andy Warhol (Jared Harris) and turns herself in to the police. Her reason lies in her anti-male Society for Cutting Up Men (SCUM) manifesto. She was molested as a child. She attended University of Maryland from 1954 to 58 where she developed her theory of the superiority of women. She prostituted herself and became a lesbian. Homeless in 1966 NYC, Valerie and friend Stevie (Martha Plimpton) meet transvestite Candy (Stephen Dorff). Candy is invited to Warhol's Factory. Valerie tags along hoping to get Warhol produce her play. Valerie meets avant-garde publisher Maurice Girodias while doing her aggressive panhandling.

Lili Taylor is absolutely amazing. However Valerie's aggressively grating character makes it difficult to fully embrace this movie. There is no real tension. The ending is already shown. It's basically an one-woman show. It goes a long way but for me, it doesn't go far enough for greatness. It's one note played over and over again.

I Shot Andy Warhol (1996) was an interesting movie that I saw on satellite t.v. a few years ago. The movie was about the lesbian neo-feminist and founder of S.C.U.M. Valerie Solanis (Lili Taylor). She's an aspiring writer who's trying to fit in the mid sixties lifestyle of New York City. Valerie lives with her sometimes lover (Martha Plimpton) and co-worker. The two turn tricks, roll certain customers and hang out with a transvestite named Candy Darling (Stephen Dorff). One day Candy suggests to Valerie that she meet with Andy Warhol (Jared Harris). The rest is history. Michael Imperioli co-stars as a very catty Ondine, Tahnee Welch guest stars as Viva and Donovan Leitch appears as Gerald Malanga.

If you want to see how Warhol's "Factory" and it's atmosphere then this is the movie you want to see. Jared Harris was perfect as Andy Warhol and Lili Taylor made Valerie Solanis into a tragic person who's life was filled with madness and heartbreak. I was also impressed with Stephen Dorff, I never knew how great of an actor he has become. This movie is perfect and ideal for those who always wanted to know what happened to Warhol during the late sixties and how his life and attitudes were changed forever.

Highly recommended.

Stephen Dorff and Lili Taylor and Jared Harris are all great in this film, particularly Dorff. But the film's biggest weakness is that everyone in the movie is so weird you don't really care what happens to them. Only Dorff manages to invest his character with enough humanity and vulnerability that you are actually interested to learn of his ultimate fate. I was kind of surprised to learn that Solanis is held up as some kind of proto-feminist lesbian guru when it is obvious she's only twisted and insane.

Imagine if the situation were reversed and Solanis was a man calling for the cutting up of all women and denouncing women as an inferior race. Such a viewpoint would be considered monstrous! Solanis is a crank and a fool, so it's impossible to take her character's world view any more seriously than the guy down by the subway station who mumbles to people who aren't there.

The entire Factory scene is rightly exposed as the pretentious, ridiculous collection of sub-mediocre talent it was. So the viewer isn't surprised when Solanis shoots Warhol, as he couldn't say no to anyone around him and surrounded himself with so many weirdos it was inevitable.



Would this film have been lauded had it been a biopic of Mark David Chapman? I don't see much difference between Solanis and Chapman frankly...both complete, colossal failures in life who managed to gain notierity through murder or attempted murder.

In summary, this was a well-executed take on a rather idiotic topic. I'd rather see the director use her talents to make a movie about people who deserve the effort. Not worthless no-talents like Warhol and Solanis.

Lili Taylor, as I think I've said here before, is one of my favorite actresses, but I have to admit I was hesitant about seeing this film, especially when a friend told me he found it overrated. I have a hard time with people who type people in general terms, and this movie seemed, at first, to say "All men are scum." And the opening 15-30 minutes seem to indicate this is just going to be a rant. However, you do gradually get to empathize with all the people involved, and you do get an idea of how things were at that time. Taylor and Jared Harris were fine as Valerie Solanas and Andy Warhol, respectively, but the real surprise for me was Stephen Dorff as Candy Darling. I've never thought much of Dorff, but he really shone through here, refusing to stereotype Candy or inject too much pathos.