Warholstars Condensed... sort of

page twenty-one

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Holly Woodlawn

Martin Kove and Holly Woodlawn
in a publicity still for Women in Revolt

Women in Revolt was filmed sporadically over a period of time lasting at least a year - from approximately March 1970 to Spring 1971. During this period Paul Morrissey also shot another film for Warhol in September 1970. It was:


L' Amour

Jane Forth and Max Delys in L'Amour

The cast of L'Amour included two people who had appeared in Trash: Michael Sklar who played the welfare officer in Trash and Jane Forth. Other cast members of L'Amour were Jane's friend Donna Jordan, Patti D'Arbanville (who had appeared in Flesh), and French actor Max Delys.

Bob Colacello:

L'Amour, the other movie under production at the Factory in 1970 and 1971, represented the beginning of a new era at Andy Warhol Films: There was a budget, financed by a syndicate of art collectors put together by Fred Hughes; a script, which the money men required Paul to write before they'd sign a check; contracts, which were so complicated that they later almost led to a lawsuit; and a partially professional cast, including Michael Sklar and Max Delys, a French actor who was a rising star in Italy, as well as Superstars Jane Forth and Donna Jordan, who played American mannequins gold digging in Paris, i.e. themselves." (BC83)

Bob Colacello had been hired to edit Interview magazine just as Warhol and Morrissey were leaving to film L'Amour in Paris. The first issue of Interview with a cover photograph taken exclusively for the magazine was a black and white portrait of L'Amour stars Jane Forth and Donna Jordan by Peter Beard. (BC54) L'Amour bombed at the box office, however, and has rarely been seen since.

Morrissey continued shooting Women in Revolt when he returned from shooting L'Amour. Women in Revolt went through various name changes even after it was released. Documents found in Andy Warhol's Time Capsule No. 40 indicate almost 80 possible names including Pearls Before Swine, Make Date and Andy Warhol's Earthwomen. (LT39) On June 25, 1971, a payment of $1,000 was made by Warhol's company for the rights to use a song titled Give Me the Man in a film titled Sisters, apparently another name for Women in Revolt. (LT42)

Women in Revolt was the last Warhol film made with Andy shooting at least some of the scenes. Jackie Curtis was not particularly enamoured of Paul Morrissey and insisted that Andy be behind the camera during her scenes. Holly Woodlawn, who was drinking heavily during the filming, felt that Jackie and Candy were dominating the scenes. When Candy complained about Holly's behaviour and Candy's manager told Holly to quite harassing Candy, Holly physically attacked both Candy and the manager. (HW187-8)

Holly Woodlawn:

"As fate would have it, the film that was supposed to be mine eventually belonged to Jackie and Candy. My big starring role had dwindled down to a supporting one. Jackie was so overpowering... Candy was still blond as ever! She was aloof and arrogant and would show up on the set with her manager at her side constantly fussing over her... She actually believed she was this superior being and the rest of us were peasants. It made me sick to be around her... And one day, her attitude just got out of hand. She was being very snotty and I had one too many Zinfandels and was in no mood for any of her prima donna crap. She said she was upset with my behaviour, and I told her that I was upset with hers. And it wasn't a big deal, just a little tiff - until her manager waddled in and fanned the fire... And because of her, what had started as a little argument progressed into a loud, uproarious brouhaha. It seemed like the only way to end the banter was to slap the shit out of both of them. And that's exactly what I did. This resulted in a wild hair-pulling, face-slapping, gut-punching riot with cries of 'I'm gonna kill you, bitch!'" (HW188)

In addition to being the last Warhol film with scenes actually shot by Warhol, Women in Revolt was also the last Warhol film to feature transvestites. With their next film, Morrissey and Warhol would make another attempt at a properly financed and more polished Hollywood type of production. It was...

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