Poor Little Rich Girl is Andy Warhol’s best Edie Sedgwick film, along with Lupe, her last film for Warhol. It’s split into two parts, Edie out of focus, and Edie in focus trying on clothes. There is no plot, it’s a character study/documentary of Edie Sedgwick, Warhol’s most famous superstar, and it’s great to watch. The first half is beautiful, out-of-focus mystery, like nothing I’ve ever seen before. The second half Edie talks to someone off-screen while getting stoned, trying on clothes, and showing off her fabulous legs. It’s hard to describe, it’s very much a 60’s period piece, but it transcends that somehow by getting the viewer to feel sympathy for Edie, she’s so harmless and tragic and ambitious all at once, she radiates the hope of youth, and somehow that’s all captured by Warhol’s camera. If you’ve never seen any of Warhol’s experimental films of the mid-1960’s, this is a great one to start with. —IMDb
American pop artist Andy Warhol became a pop icon himself, symbolizing the wild decadence of the “beautiful people” of the 1970s. Born Andrew Warhola in Pennsylvania, he studied at the Carnegie Institute of Technology before designing advertisements for women’s shoes. After gaining notoriety for his pop-art renditions of things such as Campbell’s Soup cans and silk screens of Marilyn Monroe, Warhol began making experimental films during the early ‘60s. Most of his early works were little more than passive chronicles of the ordinary. For example, in the film Sleep, he simple recorded a man sleeping for several hours. Such endeavors were heralded as groundbreaking by other experimental filmmakers, but the public and most critics generally regarded them as wastes of film, and their time. Still, Warhol continued making these plotless films until he eventually began adding crude soundtracks and sketchy scripts. Many of these films are filled with his “players”: the beautiful people, “freaks… read more
Poor little exploited Edie. It feels so uncomfortable pushing yourself against her by way of the camera. The camera is so indecently intrusive, that you literally assist at a merciless rape of an intimacy. And there she is, fragile and helpless, facing the incisive, deflowering perversion of the lens. I still cannot grasp why she ever agreed to be the subject of Warhol`s so overtly sadistic visual surgery.