But I think their friendship progressed and Candy came to realize that this was a guy she that could count on. When it started out, Jeremiah was five years younger than Candy, and Candy was a lot more experienced and street savvy and I think it did kind of start out that she needed someone who was a fan, a little slave, and Jeremiah was totally star-struck by her. Tell me about Jeremiah’s relationship with Candy? Was he a fan? Was he a friend? A lover? Well I think it grew and it changed. I always kind of saw Candy’s story as like a classic American dream story, like The Great Gatsby or something, where it just kind of keeps twisting. She had a pull towards things out of her reach. She was a real odd mix of all kinds of different pieces of American culture, from Hollywood movies of the ’30s and ’40s to a very traditional ’50s suburban upbringing, and then breaking out and being there in the ’60s and ’70s in this wild scene of New York City. Her fantasies were kind of conservative, almost, desiring either 1940s nostalgia or the suburbs. She had two very difficult dreams for her to achieve, given her situation.
It’s interesting, contrary to most Americans, she was more likely to become Kim Novak than a “normal” wife of a lawyer or something, with a suburban house and a three car garage.
#Candy darling movie movie
She wanted to move back to Long Island, right? She had these very American fantasies of a life, whether it be becoming a Hollywood movie star or a suburban housewife. So I think she started thinking about what she really wanted down the road, which was a husband and children. I think that she was beginning to realize, though, that maybe some of the ultimate dreams that she had of becoming a huge movie star like Kim Novak weren’t going to happen and the things that did happen were maybe a little hollow.
She was in Andy Warhol films, she was on his arm, she was on Jane Fonda’s arm, she was in a Tennessee William’s play. She was getting older, she had reached, by any kind of standard, especially standards around New York in those days, a pretty good amount of fame. But I think what is interesting about her kind of performance artwork is that through a kind of fictionalizing of things or creating something new, you arrive at some kind of basic truth.ĭo you think she found a truth? Well I think that she was starting to. Well she was an act of self-creation, which is, in a way, a fiction unto itself. It’s interesting to make a so-called truthful documentary about a woman who was more concerned with a fiction and this self-created Candy Darling than the hard facts. It's playing at IFC in New York, the Downtown Independent in Los Angeles and at Coolidge Corner in Boston.
Even on her deathbed, she filled the room with flowers and had the scene dramatically photographed.Ĭatch our interview with director James Rasin about the film, which was made in conjunction with Candy's best friend Jeremiah Newton, and see the movie yourself. No role was more important to her, though, than the role of Candy Darling. Lou Reed wrote two songs about her, one by himself and one with The Velvet Underground, and Candy acted in some Off-Broadway plays and a few Warhol films. She was one of the most glamorous figures in early 1970's New York, so obsessed by Kim Novak and cinema luster that, even broke and destitute, she turned herself into a Hollywood swan, gracing the dirty New York streets in pearly dresses and peroxide-blonde hair. People have used labels like drag queen or transsexual to describe Candy, but as the movie explores, she's neither, always just that singular creation, Candy. Beautiful Darling is a new documentary about Candy Darling, the legendary Queen of Andy Warhol's downtown New York who was born a man, James Lawrence Slattery, in 1944, and died a celebrated woman in 1974.
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