Factory Girl Movie

ONE of Andy Warhol's first Pop art paintings was a big, black-and-white canvas showing the transformative effect of plastic surgery on a woman's nose. Two side-by-side images juxtapose the profile of an aquiline schnoz with one showing pertness personified. "Before and After" (1960) was painted almost five years before Warhol met Edie Sedgwick, the Radcliffe dropout from Santa Barbara who is the subject of George Hickenlooper's film "Factory Girl."

THERE'S a moment in "Factory Girl," the new film about Andy Warhol's most sparkling superstar, Edie Sedgwick, that almost gets things right. It occurs when the beautiful waif meets the film's nominally disguised Dylan figure, Billy Quinn. Pushed toward her backstage at a concert, he grabs Sedgwick and points her at the clutch of cameras recording the encounter.

Forget "Blonde on Blonde." Try "Lawyer on Lawyer." A character patterned after Bob Dylan in the upcoming biopic "Factory Girl," about the rise and drug-hastened fall of 1960s actress/model Edie Sedgwick, has prompted the folk-rock legend's lawyers to demand that screenings be canceled until they can view the movie before it is released later this month.

RICH and reckless, forever with the glint of flashbulbs in her eyes, Edie Sedgwick existed to get dressed. Even before she became a superstar at Andy Warhol's Factory she was a clotheshorse, changing into three different dresses the night of her 21st birthday party at the Harvard boathouse. By the time she moved into her own apartment in New York City in fall 1964, people said they had never seen so many clothes.

THERE'S a moment in "Factory Girl," the new film about Andy Warhol's most sparkling superstar, Edie Sedgwick, that almost gets things right. It occurs when the beautiful waif meets the film's nominally disguised Dylan figure, Billy Quinn. Pushed toward her backstage at a concert, he grabs Sedgwick and points her at the clutch of cameras recording the encounter.

RICH and reckless, forever with the glint of flashbulbs in her eyes, Edie Sedgwick existed to get dressed. Even before she became a superstar at Andy Warhol's Factory she was a clotheshorse, changing into three different dresses the night of her 21st birthday party at the Harvard boathouse. By the time she moved into her own apartment in New York City in fall 1964, people said they had never seen so many clothes.

ONE of Andy Warhol's first Pop art paintings was a big, black-and-white canvas showing the transformative effect of plastic surgery on a woman's nose. Two side-by-side images juxtapose the profile of an aquiline schnoz with one showing pertness personified. "Before and After" (1960) was painted almost five years before Warhol met Edie Sedgwick, the Radcliffe dropout from Santa Barbara who is the subject of George Hickenlooper's film "Factory Girl."

Forget "Blonde on Blonde." Try "Lawyer on Lawyer." A character patterned after Bob Dylan in the upcoming biopic "Factory Girl," about the rise and drug-hastened fall of 1960s actress/model Edie Sedgwick, has prompted the folk-rock legend's lawyers to demand that screenings be canceled until they can view the movie before it is released later this month.