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Waste of time

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

The film may be flawed, but its message is not.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

in that fascinating pale material world, everyone who dared to choose to create art needed to pay something as an exchange.art is never something for people to explain or understand, it was born to keep its own private mysteries, which leads to the reason why so many people are being attracted by it, and it is the resistance.and those who make this kind of creation, must be having a really hard time.

I caught this film some time ago, and instantly liked it. Even more so upon re-watch. As far as I can see it's somewhat divisive film, people either love it or look down upon it. Most of the resentment seem to come from the inaccurate portrayal of Sedgwick's life and the circle in which she moved....? I can't place a judgment in this respect cause I don't know a thing about this rich socialite and Warhol's one time muse. But, does it really matter?I went in blind and oblivious to the facts and approached the film on its own right, not as biography by numbers. I thought it shone the light on fame and the burden it inflicts upon the people "struck" by it. Whether it's constructed, deliberately sought or accidental, fame's bound to change people and make them feel as if they'd fallen from grace, once its gone.Not that I'm speaking from experience. Something else caught my attention and held the interest. Factory girl gave me a chance to take a peek at the fascinating, complicated, superficial, fabulous and cruel world of pop culture, art, its royalties and its victims. Even rich people cry, right, and though many instances from this dramatized biography might speak ill of everyone involved, I absolutely felt it offers a good look at that infamous gray area between top and bottom of society.Guy Pearce is phenomenal, multidimensional as Warhol and Sienna Miller is fragile, quirky, chic and beautiful enough to fit the role perfectly. I thought the dynamics between the two carried the whole film, with occasional decent supportive roles. Can't sing Pearce enough praise, actually, he is absolutely perfect here, detached, infantile, brilliant, fake, extravagant, self-constructed, jealous and ultimately flawed human being, all at once. I can see Miller's role bit unflattering, cause people don't tend to empathize with spoiled, entitled rich kids. But she brought another dimension to her Edie Segwick, that made me feel for her with all her shortcomings. Easily impressionable, with vastly superficial life style; she does have that freshness of youth and often comes off as naive bundle of emotions. Miller/Sedgwick carries these qualities around constantly throughout the film, she's more childlike than anything else, really.But, there's sort of ménage à trois introduced to the story, when quite self- centered and narcissistic musician Billy Quinn enters Edie's life. Playing hard to get, nonconformist young singer/songwriter marks the downfall of Sedgwick/Warhol friendship and collaboration, really wanting nothing more but a fling, and to settle down nicely with successful career and an uptown girl on his side, eventually.There's really no room for question who's used whom, although it might spring to mind. Next project awaits and next inspiration to turn to...I guess that's show biz for you, and this is one, less ordinary life story. Well made, rich with characters Factory Girl is touching film and an emotional ride.

Directed by George Hickenlooper this 2006 film details the tragically short life of glamorous actress Edie Sedgwick.As well as looking at her involvement with the legendary Andy Warhol.It's the early 1960's and beautiful,stylish rich girl Edie Sedgwick(Sienna Miller)is introduced to pop art filmmaker Andy Warhol(Guy Pearce),the two become friends and she inspires him to make some of his best remembered underground films including Vinyl.Sienna plays Edie as a mix of Audrey Hepburn and Marylin Monroe.She's shy,natural and very stylish combing the hip quality of the sixties with the elegance of the past decade.We see her mutually dependent relationship with Andy become the most important thing in both their lives and see how Andy's jealousy eventually destroys it.Edie begins a passionate relationship with a singer who is bears quite a resemblance to Bob Dillon(Hayden Christensen)this distresses Andy who gradually shuts her out of his life.

Sweet, wide-eyed innocent Edie Sedgwick (a bravura performance by the lovely Sienna Miller) comes to New York City and falls under the charismatic spell of legendary audacious pop artist Andy Warhol (a deliciously brash portrayal by Guy Pearce). Sedgwick becomes a big star under Warhol's expert tutelage. But things eventually deteriorate when Edie falls for nice guy folk singer/songwriter Billy Quinn (a solid and likable turn by Hayden Christensen) and gets strung out on hard drugs. Director George Hickenlooper and screenwriter Captain Mauzer offer an admirably upfront warts and all depiction of the whole crazy Warhol factory scene that delivers a potent and provocative central message about how the fickle nature of fleeting celebrity can destroy someone. Moreover, Hickenlooper comes through with a vivid and flavorful evocation of the rampant anything-goes hedonism and experimentalism of the era. Miller really holds the picture together with her strong and captivating work as Edie; she astutely nails the fragile, troubled and wounded soul lurking just underneath Sedgwick's cheery and glamorous veneer. The rest of the cast are likewise excellent, with praiseworthy contributions by Pearce (his creepy and parasitic Warhol is nothing short of brilliant), Christensen, Jimmy Fallon as ruthless socialite Chuck Wein, Shawn Hatosy as Edie's loyal photographer friend Syd Pepperman, Mena Suvari as the impudent Richie Berlin, Beth Grant as Andy's proud, doting mother Julie, and James Naughton as Edie's square, incestuous father Fuzzy Sedgwick. Popping up in nifty bits are Illeana Douglas as fawning model agency head Diana Vreeland, Edward Herrmann as kindly family accountant James Townsend, and Colleen Camp as Edie's landlady. Michael Grady's dazzling cinematography makes snazzy occasional use of split screen and neatly switches between several different film stocks throughout. Edward Shermur's spare, melodic score does the trick and the spot-on groovy 60's soundtrack quite simply rocks. Well worth a look.