Ciao Manhattan

Ciao! Manhattan (1972) Blu Ray Second Sight 2NDBR4087

The long unavailable cult film ‘Ciao! Manhattan’ now has a Blu Ray edition to satisfy the curious of this generation.
Originally released in 1972 to some press acclaim then disappearing for a decade, it took George Plimpton and Jean Stein’s best-selling book of 1982 ‘Edie: An American Biography’ to revive interest in the film. Screenings in art houses and cult cinemas were followed by a video release, since when it’s largely retained its cult status. Written and directed by John Palmer and David Weisman, the story is based closely on model and sometime Warhol muse Edie Sedgwick, whose high life and rapid descent into drug addiction culminated in her death aged just 28.

With only one professional actor in the film, the supporting cast play some very familiar road movie characters; aimless drifter Butch (Wesley Hayes) who picks up drug-addled spoilt rich girl ‘Susan’ (Edie) in his ageing car, taking her home to her family mansion and long suffering mother (Isabel Jewell). Susan’s needs are taken care of by vain, wise-cracking opportunist Geoffrey (Jeff Briggs) whose regular pilfering of the family silver is all in preparation for his eventual exit.

It’s highly debateable how much Edie’s portrayal of Susan is acting, and how much, real life. Her slurring speech, far away eyes and ‘weeping willow’ body movements evoke a highly believable strung-out junkie, as she unselfconsciously lazes about her tent-like flop house nearly naked, dances by herself and indulges in free-association monologues that mean all to her and little to her sole audience member, Butch. Recalling her days as a Vogue model, ‘It Girl’ and muse at Andy Warhol’s Factory, all true to life, makes parts of the film uncomfortable to watch.

Cut with footage from her high flying modelling days, Factory shows and re-imagined visits to the notorious vitamin clinic of Dr Robert (Charlie Bacis), the link between Edie and Susan is further reinforced. The makers cleverly embed a conspiracy story into the film, involving a shadowy businessman, Mr. Verdecchio (Jean Margouleff) and his chauffeur/fixer/spy David (David Weisman) who stalk Susan/Edie’s former boyfriend Paul (Paul America) with the latest electronic surveillance equipment.

Back at the pool, Edie/Susan’s pathetic attempts to trace Paul and raise the editor of Vogue magazine on her telephone sit in stark contrast to the footage of her hob-nobbing with the modelling and artistic elite of New York. Edie/Susan’s background is rich and privileged, the product of a small, aristocratic gene pool. Her chosen career path is fashionable, artistic, bohemian but still overwhelmingly white. Both sets of people seem to pass their days living for pleasure, or at least risky excitement, while the fabric of society is seemingly held together by the likes of disinterested vassals such as Jeffrey and Butch, and the highly organised criminals like Mr Verdecchio.

Soundtrack music is generally unobtrusive, the electronica coming courtesy of Gino Piserchio, the rest, some languorous country rock provided variously by John Phillips, Skip Batten, Kim Fowley and Richie Havens.

The inclusion of details from Edie’s life, such as magazines photo spreads, newspaper articles and filmed fashion shows and parties are used for maximum identification, even to the mawkish use Edie’s real wedding picture and death notice.

Extra 35mm footage has been added to this disc, and the happenings and parties on it are documents of a time when anything seemed possible, but ultimately do little to enlighten the viewer. Filled with the movers and shakers of the 60’s American counterculture and a cast of flamboyant, outrageous and eccentric characters, the extras are arguably just as interesting as the film. The probably unique footage of Warhol crowd’s favourite venue, Max’s Kansas City, is likely to be of huge interest to the vast number who read about it, but never got to visit it.

Ciao Manhattan is well scripted, has some touchingly naturalistic performances, and looks compellingly beautiful, but the viewer can’t banish the feeling that it’s a mixture of opportunistic headline grabbing and exploitation of a vulnerable young woman.

Scenester

11/8/18

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