So everyone remembers the past, so various biographical movies have become so popular in recent years that the directors have somewhat dissatisfied with the present world and cherish the memory of the flourishing age while paying tribute. Look at those posters. Capote is holding hands and standing scornful of everything. Behind the iconic round glasses, those small eyes are so contemptuous and mocking, as if to the paparazzi juniors around the world standing in front of him: "Small, you are really frustrated now!" Edie Sedgwick in "factory girl" glanced back, but it was meaningful to see through, this is a kind of gentle "emptiness" standing at the gate of the factory Say goodbye, no nostalgia.
When it comes to Pop, Warhol is a character who cannot be skipped. Who is the crown jewel of the global single painting auction? Picasso? Perhaps the year before last, Warhol’s screen-printed work "Green Crash" took over the top spot, maybe in a few years it will be Campbell’s canned soup, it will be Marilyn Monroe, it will be the electric chair, his , All belonged to him, this little man who resembled a weasel stood at the second nearer end of the art history coordinates, and his lust spread to the Middle Ages.
There are too many gossips about Warhol. Most of them revolve around the theme that he is gay. If I read too much, I’m not surprised. I always watch old dramas with the mentality of no wind and no waves. I imagine the relationship between andy and lou reed. The prototype punk version of "Unspoken Rules". This time it’s Edie Sedgwick’s turn, the legendary woman who has been "icon" for 40 years. She joined the "Love Triangle". This is an unreliable gimmick. After watching the movie, you will find It doesn’t make up a triangle at all, and even the relationship between the two remains to be verified. In the tidbits, Edie’s bestie said: “That folk singer is definitely not Bob Dylan!” After 40 years, two deaths and a lifetime, I don’t know the old bob. What's the reaction of a defender who has been involved in old lace for no reason and has been portrayed into a mainstream value? Then feel relieved to treat the whole movie as a New York Pop’s room test, but I found that I was still fooled, "Nothing, nothing at all, art is nothing except boring", which seems to confirm Warhol’s words. . The little "useful for me" content I want to get is not at all, but who cares if it is useful for you? Besides, "useful" means that you are backward in thinking!
Since the relationship was unreliable and the information was not attractive, I finally turned to focus on Edie and Warhol himself. Such a mindless intervention in the life and inner world of the character is the good state of mind for ordinary audiences. Idol may be the result of a series of comprehensive thrusts, but one thing I firmly believe is "style." A person's spiritual aura is not equivalent to fashion. The latter is only related to clothing, while style is based on personal charm. Central complex. If it weren’t for Edie’s decent family background, childhood experiences, Cambridge studies, and the mental state of being on the verge of collapse...how she dresses only as a model, and her “symbolicization” has reasons and backgrounds, and even needs something. "Poisoning" to promote depression. These "good times" have passed, so girls, dark circles, candy socks, one-piece dresses and satin headbands cannot save most of you, because you will never be sexually harassed by your biological father before you are eight years old. I can't smoke such great hemp cigarettes, so girls, if you can still be yourself, you are still cute.
It must be admitted that Warhol was a cunning guy. Ronny Catron, who was in the factory at the time, later recalled: “No one in the factory took medicine at all. Except Andy, he took oberrol, a kind of The little orange pill...Others are piercing needles in the stairwell...Only methamphetamine, we all have pure addictions...I only use methamphetamine, because you have to get nerves.'Sudging nerves' means a good connotation." Yes. , To be nervous means a good connotation, and Warhol never "to be nervous". What an interesting place the factory is. Warhol is the only manufacturer on this art pipeline, and those "nervous" people (including Edie, of course) are his inexhaustible artistic production. Raw materials. The reason why a "factory" is a factory is understood by those who are not "nervous".
Back to Edie, when Warhol saw her for the first time in the film, he lost his mastery in awe. The Hollywood-style editing method of fully magnifying inner activities made this scene a funny emotional comedy. The misplacement of taste and way of expression really makes people think that Warhol fell in love with the "pure British flavor" Edie at first sight. Wrong, Warhol just suddenly found a perfect expression of his own in her. Way.
Warhol's low self-esteem was brought about by appearance. This deep-rooted emotion was the source of his narcissism. This low self-esteem was so powerful that his thoughts overflowed and his body was full of aggressiveness. At this time, Edie appeared. There is nothing in the whole film that makes people feel that Edie is really the muse of what the public calls Warhol. Maybe Edie’s own display is tempting enough, maybe the art production of the factory has contributed to and stabilized Edie’s icon. Status, perhaps Warhol gave Edie a lot more inspiration and catalysis than Edie gave him. Warhol is just his own muse. His low self-esteem has contributed to his strength and inviolability. His ugly low self-esteem needs to be compensated for by the flaws of beautiful Edie. In her, he has found his most elegant and proper way of expression. , He is full of aggressive thoughts (rather than penis) into Edie's body, combined into a perfect art. He did this and succeeded. His inferiority complex is best comforted in his own art. If Edie is a muse, it makes sense. What Edie gave is what Warhol believed. I have almost perfect fantasy. Most artists live for this fantasy, and get the affirmative echo of fantasy through their works.
The day Edie left him was when Warhol imagined the loss, and you can imagine how painful this loss was for Warhol. The power of the inferiority man is that he can rebuild a solid shell after regaining the fantasy fragments. The reputation and status of arriving too early and rushing away has dealt a devastating blow to this girl in her early twenties, and finally chose deoxyephedrine. Alkali and heroin come to detachment. In this game, what Andy loses is fantasy, what Edie loses is dream, and I don't know who is more pitiful.
"Everyone can be famous for 15 minutes, and the lifespan of the trend is not as good as disposable diapers and condoms." The pop master set a popular shelf life, but ironically, the "15-minute rule" But it does not apply to anyone or anything that Warhol handles. His works have become a high-priced collection that no one can bear to throw away, and Yidi has become an evergreen idol for many worshippers to this day. Is it too expensive to use methamphetamine and a permanent epidemic in exchange for life? Maybe Warhol is still laughing at everyone's taking too seriously, taking art too seriously, taking life too seriously, and taking death too seriously. The ring-shaped structure of confession that echoes at the beginning and the end of the film is annoying. The confessional is too cramped to accommodate Warhol’s huge irony. He doesn’t need the director to be passionate to seek a legitimate moral outlet for him. His existence is for him. Relentlessly mocked. The other side of Edie's youthful jealousy is lack of resilience, tearing away from the mainstream and the edges, and breaking accidentally. Fame, wealth, fall, and poverty all came so pure and sudden. It was an era full of dramatic tension. In New York, Warhol was the director of many dramas. Edie was one of them. And he himself, just like Billy. Neimen said: "Not even an anti-hero, he is zero at all."
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