Yo disparé a Andy Warhol

On 1968, Valerie Solanas (Lili Taylor) shots Andy Warhol (Jared Harris) and turns herself in to the police. Her reason lies in her anti-male Society for Cutting Up Men (SCUM) manifesto. She was molested as a child. She attended University of Maryland from 1954 to 58 where she developed her theory of the superiority of women. She prostituted herself and became a lesbian. Homeless in 1966 NYC, Valerie and friend Stevie (Martha Plimpton) meet transvestite Candy (Stephen Dorff). Candy is invited to Warhol's Factory. Valerie tags along hoping to get Warhol produce her play. Valerie meets avant-garde publisher Maurice Girodias while doing her aggressive panhandling.

Lili Taylor is absolutely amazing. However Valerie's aggressively grating character makes it difficult to fully embrace this movie. There is no real tension. The ending is already shown. It's basically an one-woman show. It goes a long way but for me, it doesn't go far enough for greatness. It's one note played over and over again.

Lili Taylor gives a savagely kinetic performance in this representation of a disturbed individual who may just also have been a genius despite, or because of, her treatment at the hands of various men throughout her life.

Judging biopics in terms of historical accuracy is for the most part a futile exercise. There is no 'truth', only interpretation, but if you want to get closer to the facts you really should be in the library, not the movie theatre. The story of Valerie Solanas is especially vexing in this case, because were this a work of complete fiction, the script would never have been made. The 'so what?' factor is superseded by the fact that this actually happened, and the legacy of Solanas still divides contemporary feminists.

As cinema, the film succeeds through the charisma exuded in Taylor's performance. Her descent into madness is sudden, vicious and uncompromising. The depiction of the shooting, the moment the film has been leading up to, shows a human being divorced absolutely from her conscience. The groovy scene around Warhol's the Factory is both decadent and, viewed from the 21st century, slightly twee. The pastiche of Sixties nostalgia is less foregrounded than Solanas's brutal victimhood. The film begins with a reading of her psychiatric evaluation, where a litany of unpunished crimes inflicted upon this woman by various men is laid out. The female director sets her stall out straight away - what you are hearing now leads through a direct line of cause and effect to the monstrous act you will see committed by Solanas later.

If the film has a major flaw, it is the title. Audiences could be mistaken for thinking it is about a documentarian of Warhol's life and work. Solanas and her SCUM manifesto, for better or worse, have made their mark, and perhaps 'Solanas' would have been a more fitting (if less marketable) title. Did it take the shooting for that to be the case? A polemical moment in recent history relayed straightforwardly, this is competent, entertaining, edifying cinema.

Lily Taylor was astonishingly good as Valerie in I Shot Andy Warhol. She's a versatile and entertaining actress who certainly does not get enough credit. Stephen Dorf as a transvestite... who knew? But he was also incredibly good. The entire cast does a fantastic job. It's a thoroughly enjoyable fictionalized chronicle of the emergence of the SCUM Manifesto and the events leading up to the shooting of Andy Warhol, by Taylor's character a paranoid schizophrenic, man-hating, lesbian. What could be more entertaining than that?

Stephen Dorff and Lili Taylor and Jared Harris are all great in this film, particularly Dorff. But the film's biggest weakness is that everyone in the movie is so weird you don't really care what happens to them. Only Dorff manages to invest his character with enough humanity and vulnerability that you are actually interested to learn of his ultimate fate. I was kind of surprised to learn that Solanis is held up as some kind of proto-feminist lesbian guru when it is obvious she's only twisted and insane.

Imagine if the situation were reversed and Solanis was a man calling for the cutting up of all women and denouncing women as an inferior race. Such a viewpoint would be considered monstrous! Solanis is a crank and a fool, so it's impossible to take her character's world view any more seriously than the guy down by the subway station who mumbles to people who aren't there.

The entire Factory scene is rightly exposed as the pretentious, ridiculous collection of sub-mediocre talent it was. So the viewer isn't surprised when Solanis shoots Warhol, as he couldn't say no to anyone around him and surrounded himself with so many weirdos it was inevitable.



Would this film have been lauded had it been a biopic of Mark David Chapman? I don't see much difference between Solanis and Chapman frankly...both complete, colossal failures in life who managed to gain notierity through murder or attempted murder.

In summary, this was a well-executed take on a rather idiotic topic. I'd rather see the director use her talents to make a movie about people who deserve the effort. Not worthless no-talents like Warhol and Solanis.

Lili Taylor plays Valerie Solanas, an educated loose cannon, guerrilla female activist and self-described 'bull dyke', who was taken into custody in June 1968 after shooting and wounding Andy Warhol at his New York City office/hangout The Factory. Good-looking movie investigates a hazy chapter in history, yet leaves some unanswered questions in its wake (I wasn't aware that apparently an assistant was also shot, though the film makes no attempt to explain what happened to him). However, this small-budgeted film captures a decadently apathetic, coolly indifferent time and place quite vividly, as good as any post-'60s movie has yet managed. Taylor is appropriately forceful and ungainly in her role, which is more complex than one might think, and yet hers is the least interesting or intriguing character on display. Stephen Dorff does a pretty terrific job as transvestite Candy Darling, Tahnee Welch is unrecognizable as Warhol's most famous starlet Viva, and Jared Harris is flawless as Warhol (he nails it). Terrific art direction and composition, but the film lags a bit in the narrative department, with Solanas meeting an anti-bourgeois activist which doesn't come to much and has a facetious, puzzling relationship with publisher Maurice Girodias which seems half-baked. **1/2 from ****