Marilyn Monroe’s 1962 suicide reverberates not only in the serial “Marilyn” paintings Andy Warhol began making days afterward. Her death also echoes through all his movies featuring tinsel-haired Factory angel Edie Sedgwick—ending appropriately enough with Lupe, 1965, in which the drug-addled Superstar imitates the “Seconal suicide” of ’40s star Lupe Velez, eerily anticipating her own Hollywood Babylon-style overdose.
As spectacularly beautiful as it is a fascinating spectacle, Warhol’s spatially dynamic and dramatically lit film-and-video portrait of Sedgwick, Outer and Inner Space, 1965, is perhaps his most brilliant articulation of the schism between private self and public image, as well as a further exploration of the serial imagery in his paintings. Shot during the summer of 1965, publicly screened in 1966, and recently rescued from oblivion, this was his first double-screen film—The
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