One of Warhols last superstars, Candy Darlingborn James Slattery in Massapequa Park, Long Island, in 1944idolized Kim Novak, herself one of the final big stars built up by the studio system. Many of those interviewed in James Rasins polite but poorly structured documentary narrowly contend that the great tragedy of Candy (who died in 1974) was her deluded insistence on living in a fantasy fueled by the movie-fan magazine Photoplay; at least Paul Morrissey, who directed Candy in Flesh (1968) and Women in Revolt (1971), acknowledges her intelligence when he says, She didnt live in the past. She was a humorist. Yet Rasin does not (or could not) show clips from either of those films; he includes only a brief excerpt from the trailer of Women in Revolt. Denied the opportunity to see Candy at her best, simultaneously mocking and paying homage to golden-age glamour, viewers instead get too much of Jeremiah Newton, a close friend of the actresss and guardian of her papers, personal effects, and ashes (and one of Beautiful Darlings producers). Rasin organizes his film around Newtons efforts to have Candys remains buried with his mothers in upstate New Yorka tedious, maudlin thread that the blond performer, who famously posed in full glam in her hospital bed as she was dying from cancer caused by the toxic hormone pills shed ingested, surely would have parodied.
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