You’ve probably already heard some version of events of the life of this stylish socialite. In late 2006, a film about Edie Sedgwick was released. Entitled Factory Girl, it had Sienna Miller playing a wide-eyed Mary Sue of sorts, who could tame horses and make even the surliest of weak Bob Dylan impersonators fall in love with her. Her downfall and drug addiction was sparked by the treatment of the Big Bad Andy Warhol, leading to her eventual death.
The almost cartoonish biopic of the famed sixties socialite, while rooted in the truth, favours the more salacious aspects of Sedgwick’s legendarily sensational life. Her biography, Edie: an American Girl, does not take such a dramatized view of Sedgwick’s life, but it doesn’t marginalize this perspective either. Jean Stein compiles her story entirely from other people’s memories of the icon: her family members, peers, doctors, and pretty much everyone else who had any sort of contact with her during her brief lifespan (including Mr. Warhol himself). The editor retains many of Sedgwick’s more human traits – the good and the bad – rather than elevating her to the goddess-like status she had in the movie. Every memory of her is meticulously recorded, often producing contradicting points of view from different people. For instance, we quickly see the difference in how Sedgwick is perceived by her siblings. Her eldest sister, Saucie, sees her as a narcissistic bully, whereas Suky, her youngest sister, completely idolizes Sedgwick, looking up to her as the single most creative being on the planet.