“Warhol’s Muses: The Artists, Misfits, and Superstars Destroyed by the Factory Fame Machine” by Laurence Leamer
These days the name Andy Warhol invokes images of the zany 1960’s and a cultural icon of the 1970’s. To hear the name Warhol more often evokes a snapshot of an era, rather than the legacy of the person. Images flash through our mind of Marilyn Monroe, Campbell’s Soup, Brillo Pads, and even celebrity photos from Studio 54. Author and biographer Laurence Leamer has an impressive track record of documenting the entourages and close ties of the women associated with celebrity men in some of his previous books: “Capote’s Women”, “Hitchcock’s Blondes”, “The Kennedy Women”, and this latest follows the travails of the women who took a swim through Warhol’s Factory.
Leamer pulls no punches. For those searching for more ‘flower power’ or ‘peace and love’, this is not the book for you. In keeping with that, this is not so much a history of Andy Warhol as it is a detailing of the line of “superstars” that entered and departed from the Warhol sphere of influence. Surprisingly, this makes for reading that is every bit as interesting (and a bit dispiriting) as the numerous biographies that have been written on the man himself.
What Leamer makes clear is that Warhol had a desperate need to be famous. His pop art that sells for such extravagant prices today, never seemed to be a passionate pursuit, and for years it only got him so far along the path of A-list celebrity. Instead, Warhol’s talent for using the beauty and presence of these women to open high society doors seemed to be his true commitment … and the cost to those women mattered little to him. In fact, a recurring theme is his lack of emotional ties. Warhol seemed to carry a void for all but his own image. Although a few benefitted at times, these are the women who paid the price for his public image.
The muses of the title and the ‘superstars’ of Warhol’s Factory are subjects of fairly comprehensive recording and analysis by author Leamer. The ten discussed are: (Baby) Jane Holzer, Edie Sedgwick, Brigid Berlin, Mary Woronov, International Velvet (Susan Bottomly), Viva (Susan Mary Hoffman), Ultra Violet (Isabelle Collin Defresne, Salvador Dali’s former lover), Nico (Christa Paffgen), Ingrid Superstar (Ingrid Von Scheven), and Candy Darling (James Slattery). You may recognize some of the names, but what mattered to Warhol was that each stood out in a crowd, and while clutching his arm, helped soften his homosexuality for the masses. Each brought a level of glamour and a form of respectability to a mostly reserved and often socially awkward man.
Of course, the other side of that coin is where Leamer spends his time. Sex, drugs, art, and parties all over Manhattan were keys. However, Leamer details Warhol’s “independent” films that seemed to offer little more than an outlet for his fetishes, while providing hope for stardom to these women. Warhol made these “underground” movies for his own pleasure and as a way to lure those he wanted as part of the Factory. His movies like “The Chelsea Girls”, “The Nude Restaurant”, and “Blue Movie” may have been the best known, yet ‘smut’ or pornography often was the most accurate label for a Warhol film. Leamer makes this point without dwelling in the gutter.
Self-destruction is a recurring theme throughout Leamer’s recounting the tales of the muses, and he usually provides the evidence of Warhol being the reason, or at least a big part of it. Even with death/suicide occurring all-too-frequently, Warhol rarely showed outward emotion or grief. His peeps were not just replaceable, they were in fact, frequently replaced. Author Leamer goes on to detail Warhol’s connection to and management of The Velvet Underground, as well as his being shot at the Factory in 1968 by radical feminist writer Valerie Solanas (“SCUM Manifesto”). There is very little about this book or its stories that we find uplifting. Actually, the opposite is true. Despair was the emotion I most often felt while reading Leamer’s book, yet it’s also so well researched and insightful that we find ourselves appreciative of pulling back the curtain on a secretive icon of an era.
Posted by David Ferguson 
The blogathons administered by 
It’s been almost ten years since this film from director James Gray was released, and I’ve recommended it many times to folks who were unfamiliar or unaware. The film is expertly photographed by cinematographer Darius Khandji (a two-time Oscar nominee) and is based on the book by the absurdly talented David Grann, whose books also include one of my personal favorites, “Killers of the Flower Moon”. The screen is filled with green and golden hues (similar to OUT OF AFRICA), providing a sense of realism and a touch of romanticism to the true adventures of the bold explorer, Percy Fawcett.
There may be no such thing as a Free Lunch, but thanks to the USA Film Festival, there is something even better … FREE MOVIES! Of course, not all screenings are held at no charge, yet this remains an affordable and entertaining festival experience for all film lovers.
This year’s opening night event on April 23 is “The World of Nancy Kwan – A Salute to Nancy Kwan”. The breakout star of THE WORLD OF SUZIE WONG (1960) will participate in a book signing and an on-stage conversation, following a career retrospective including clips of her performances in film and television. Also on opening day, there is a Salute to renowned director Jon Avnet with a screening of his new film, THE LAST RODEO. Mr. Avnet will attend along with the film’s co-stars, Neal McDonough and Mykelti Williamson. All three were involved with the fantastic TV series, “Justified” and “Boomtown”, and Mr. Avnet is known for having directed FRIED GREEN TOMATOES (1991), as well as Broadway plays.
Sometimes a getaway to a Greek isle is meant only to be a good time. Such is the ongoing popularity of the stage production “based on the songs of ABBA”. The Swedish band’s global success was first derived through these songs in the 1970’s. In 1997, British playwright Catherine Johnson wrote the story that led to the smash stage musical (1998), followed up by the blockbuster film in 2008 (starring Meryl Streep and Amanda Seyfried). Both the stage production and the film were directed by Phyllida Lloyd. The most recent of many incarnations of the stage musical continues this year with a United States tour, a six-month stint on Broadway (beginning in August 2025), and finally, an international tour.
Here is the link to my TOP 10 (actually 11) movies of 2024. In keeping with tradition, you will also find a list of the “Next best”, as well as designated categories: Documentaries, World Cinema, Animation, and a few other special notes. I hope you enjoy!
Since I am a voting member of the Dallas – Ft Worth Film Critics Association, I wanted to share the link to this year’s awards page. You will find that Sean Baker’s ANORA was voted Best Picture, and can peruse the other categories as well.
Greetings again from the darkness. The second annual IT CAME FROM TEXAS FILM FESTIVAL was held September 13-15 at the Plaza Theatre in Garland, Texas. The festival salutes films made in Texas illustrating the Independent Texas spirit. This year’s showcase included three Oscar-winning films: TENDER MERCIES (1983), THE LAST PICTURE SHOW (1971), and GIANT (1956). Although I was out of town and unable to attend, the festival’s director, Kelly Kitchens, was kind enough to provide screeners for three documentaries scheduled for the festival. Al three speak to the pride of Texas.
Co-directors: Allen Mondell, Cynthia Salzman Mondell, and Phil Allen
Director: Anne Rapp
Director: Hector Galan
With Love, Mommie Dearest: The Making of an Unintentional Camp Classic
The year of “Barbenheimer” concluded with one of the best and best-paced Oscars ceremonies in recent history. Of course, there were ups and downs … even an awkward Best Picture finale (which isn’t far off from becoming a tradition). Despite the bumps, the show served up plenty of entertainment for movie lovers and very few surprises for followers of the awards circuit.
My favorite movie of the year, OPPENHEIMER, was the night’s big winner with 7 Oscars, including Best Picture. Christopher Nolan’s film is quite an achievement, juggling history, a deep roster of actors, and an era that now seems foreign to most people under 40. However, this film is only half of the “Barbenheimer” label, and the BARBIE faction delivered the showstopper thanks to sparkly pink suit attired Ryan Gosling and his rousing “I’m Just Ken”. It was the kind of spectacle and audience participation moment that will go down in Oscars lore.
Movie Reviews from the Dark 