The Velvet Forum

GroovyMusic wrote:That woman doesn't resemble Nico at all

No one does!!!
But, yes they should have made a better casting...

http://www.nme.com/news/bob-dylan/25608


Bob Dylan attemps to block movie release
Star angry at how he is portrayed in 'Factory Girl'

Bob Dylan is attempting to block the release of a biopic of Sixties icon Edie Sedgewick in a row over his role in the pop icon's death.

Sedgwick, one of Andy Warhol's New York Factory hipsters, died aged just 28 from an overdose of barbituates in 1971. It is thought that the film, 'Factory Girl', implies that the legend's behaviour towards his rumoured former lover was indirectly responsible for her suicide.

In the movie, Sedgewick is played by British actress Sienna Miller, while a character said to be based on Dylan is played by Hayden Christensen, best known for playing Anakin Skywalker/Darth Vader in the 'Star Wars' prequels.

According to today's (December 31) edition of The Observer, Dylan has written to the producers of the movie, demanding that the film not be released until he has established whether or not the defamation claims are true.

Sedgwick befriended Dylan in the late-60s and the pair are long believed to have had an affair. It's also been rumoured that two of Dylan's most famous songs, 'Just Like A Woman' and 'Like A Rolling Stone', are about the tragic star.

While 'Factory Girl' is reported to detail the pair's break-up the film does not actually mention Dylan by name.

Orin Snyder, the singer's lawyer, claims the original script did name Dylan. The final version changes the name of his character to Danny Quinn.

Speaking to the New York Post, Snyder stated: "You appear to be labouring under the misunderstanding that merely changing the name of a character or making him a purported fictional composite will immunise you from a suit. That is not so.

"Even though Mr Dylan's name is not used, the portrayal remains both defamatory and a violation of Mr Dylan's right of publicity. Until we are given an opportunity to view the film, we hereby demand that all distribution and screenings immediately be ceased."

The film is set for release in the UK in February, though its US opening has been postponed, with reports that it had disappointed at test screenings.

Bob Dylan only likes his name mentioned in circle jerks: http://www.imdb.com/title/tt0368794/

Bob Dylan sucks

sars wrote:Bob Dylan only likes his name mentioned in circle jerks: http://www.imdb.com/title/tt0368794/

Bob Dylan sucks

I saw the movie last night and it's absolutely awful. The portrayal of Dylan is a travesty. The performance by Hayden Christiansen is terrible. The portrayal of Andy is also a travesty, but Guy Pearce works hard to try and invest it with something more, unfortunately fighting a losing battle with the script. There are lies and historical inaccuracies, as there often are with fictionalized history, but the spirit of the film is so wrongheaded and unsubtle and unintelligent that it doesn't justify the liberties taken. It's no wonder both Lou and Dylan are outraged.

Here's the clip of the Velvet Underground from "Factory Girl." I love the internet so much.

http://www.youtube.com/watch?v=ztLfxTtce40

Anybody know how to find out when it will in a particular city - Indianapolis, in my case?

Already found in Emule...

OK, I watched it yesterday. Not too bad film, but without interest for Velvet fans (they appear at the end of the film, just one minute or something, and fucking Nico's character is stupid).

If anybody want it here's the ED2Link:

ed2k://|file|Factory.Girl.LiMiTED.DVDSCR.XviD-mVs.ShareHeaven.avi|734984192|F39552514CB9D166A83C44AF0DFD341F|h=C63OGDUDMMW3AWO7OEKSY3GTRJHFQVJX|/

A Very Nasty Portrait of the Artist: How Factory Girl insults Andy Warhol.

By Jim Lewis

There's a moment about midway through Factory Girl,
the latest rehashing of Edie Sedgwick's life and Andy
Warhol's career, when the movie suddenly goes from
being merely very bad to being truly revolting. The
setup is this: Sedgwick, a lovely but very unhappy girl
from a wealthy but very unhappy family, comes down to
New York from Boston in search of attention and the
excitement of art. She finds both in Warhol's studio: Andy
has started making films; Edie is both photogenic and
game. He turns her into an underground star, and she,
in turn, finds a place in Warhol's coterie of drag queens,
drug addicts, gay men, hustlers, fashion mavens,
socialites, and assorted hangers-on. So far, so good: All of
this is true enough, as Hollywood movies go, anyway.

Then she meets ? well, it's a little hard to say who,
exactly, she meets. The character is obviously meant
to be Bob Dylan, with whom Sedgwick apparently did
have some kind of brief affair, but Dylan threatened to
sue the filmmakers, and the character is given a
ludicrous pseudonym: "the Musician."

In the movie, the Musician is everything that Warhol
is not: a good, red-blooded American boy, heterosexual, motorcycle-riding, and what's more,
a poet?no, a prophet?and a paragon of anti-materialism
and truth-telling. In short, he's an insufferable prig,
a smug and arrogant philistine, and it's no wonder Dylan
disavowed him vehemently.

Edie, on the other hand, seems to fall in love with him
and so, alas, do the filmmakers, who concoct a brief
and improbable moment of wholesomeness for the two
of them. They ride the Musician's motorcycle upstate; he
ditches it in a lake to show how little he cares for the toys
his wealth has brought him; they talk about her
childhood; they make love, in front of a fireplace,
no less; and then Edie goes horseback riding.

All of this would be silly enough; what makes it disgusting
is a brief cutaway, lasting about nine seconds, showing
Warhol sitting all alone in his vast, cold studio, rapturously
watching a film of Sedgwick that he's projecting on the wall.
The movie cuts back to Sedgwick and the Musician romping,
and I realized at once that I wasn't watching a film about
Andy and Edie at all; I was watching an allegory of
the Evil Fag, who battles with the Good Man for the soul
of the Lost Girl. The Evil Fag, you see, is simply a failed
heterosexual, frustrated and rancorous; the Lost Girl is
well-meaning but confused; and the Good Man does his
best to set her straight.

In Factory Girl, it all comes to a showdown. The Musician
shows up at Warhol's factory for a screen test. Warhol
coos and does his best to be accommodating; the
Musician says things like, "No, man, don't sweat it," and
then makes fun of Warhol's work. And so on: It all goes
very badly. At one point, the Musician tries to pass a joint
to Warhol, who didn't do drugs and who therefore demurs.
"Do you smoke, man, or do just that faggy speed shit?" he asks,
managing in one short sentence to sum up the film's
loathsome combination of sanctimoniousness, hypocrisy,
and bigotry. Luckily, one of Warhol's cronies immediately
replies, "Just the faggy speed shit"?the only line in the
movie that made me smile. As Dave Hickey once said,
in a not dissimilar context, I'll take the real fake over
the fake real any day.

Finally, the Musician walks out, with Edie following in
tears. "What the hell was that?" she asks. "He's my friend."

"Baby, your friend is a bloodsucker," the Musician
answers, though I suspect "cocksucker" was the word
he was looking for.

It's all downhill from there. Edie makes the mistake of
going back to Andy, but soon she's been passed over
for the next Factory Superstar, and then she does a
lot of drugs, moves to California, gets clean, and then
suddenly ODs and dies, and let that be a lesson to
you: The Evil Fag destroys women. The last we hear from
the Musician, he's instructing his manager to help Edie
out with some cash. The last thing Warhol says is "I never
really knew her," and if you think that makes him sound
like Judas, you're getting the idea.

Watching Factory Girl is like sitting through some risible
remake of Laura, the great '40s noir that brought Clifton
Webb, in the role of Waldo Lydecker, hissing and drawling
opposite Gene Tierney, until she's rescued by Dana Andrews.
The difference, of course, is that 1944 is not 2007; that
Webb attacks his role with such energy and élan that one
can't help but root for him; and that Lydecker is not, after
all, a real person.

I should be pointing out that Warhol was a great artist
and a great filmmaker, that he made paintings and movies
the likes of which no one had ever seen before?and so
he did, though you'd never know it from Factory Girl. I
should be telling you that he was also, and not surprisingly,
an exceedingly complicated man, that Edie, for all her
winsomeness and beauty, was a suicide looking for an
excuse, and that Dylan was such a minor character in
that scene that it's bewildering to find him in this movie
at all, and preposterous to portray him as Warhol's
tormentor. I should be reminding you that the times
were, by all accounts, hectic if not hysterical, and that
Sedgwick was not the only one who paid the price. Warhol
was shot, almost to death, by one of his more unstable
hangers-on, but you wouldn't know that from watching
the movie, either.

But I want to say something else, instead. The visual
arts have traditionally been a refuge for marginal
people: queers and misfits, fragile and disobedient
people, the flamboyant and the terminally shy, some
brilliant people, some shallow people, and quite a few
con artists; and Warhol's Factory was open to all of
them. There's a great deal more to art than that, of
course; there's hard work and scholarship and as
much to think about as there is in poetry or novels or
philosophy. But many of us first came to the art world
because decades earlier Warhol had made it seem like
a wonderful place to be, and besides that, a home. So
Factory Girl isn't just a bad movie, it's a 90-minute insult
to the culture it pretends to be capturing, and what I
really want to say?as I would almost never say of
anything I see or read or listen to?is that I hated it.



Article URL: http://www.slate.com/id/2159245/

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