There are two reasons i've looked up this movie. The first is the Factory Girl (2006) with Sienna Miller in the lead role, which had mostly mainstream approach to Edie's life. In comparison to that Ciao! Manhattan is a ockumentary, although unintentionally dark.
The second is Madonna's video for Deeper and Deeper, which somewhat capitalized on Edie's image during her Warhol years. At the time of the video's release, internet and DVD were the tools of the future, so finding more information had to wait.
Since i know more about Edie Sedgwick now, i can only say that Ciao! Manhattan mercilessly exploits her even after her death. The black-and-white footage is showing some of her pastimes while being Warhol's muse or shortly thereafter. There is nothing glamorous about it, since we know that chemistry is boosting her "creativity". The footage in color displays the consequences of those wild years.
In terms of, or absence of, plot Ciao! Manhattan is in line with avant-garde contemporary movies of the era. On the other hand it shows the outcome of longterm substance abuse. It was unclear to me whether Edie was acting or brainstorming during the color sequences.
We may argue that Edie had already been in need of professional help even before meeting Andy Warhol and his bunch. But even then Ciao! Mahnattan send shivers up your spine while showing her life being wasted while authors get credits for artistic merit.
The second is Madonna's video for Deeper and Deeper, which somewhat capitalized on Edie's image during her Warhol years. At the time of the video's release, internet and DVD were the tools of the future, so finding more information had to wait.
Since i know more about Edie Sedgwick now, i can only say that Ciao! Manhattan mercilessly exploits her even after her death. The black-and-white footage is showing some of her pastimes while being Warhol's muse or shortly thereafter. There is nothing glamorous about it, since we know that chemistry is boosting her "creativity". The footage in color displays the consequences of those wild years.
In terms of, or absence of, plot Ciao! Manhattan is in line with avant-garde contemporary movies of the era. On the other hand it shows the outcome of longterm substance abuse. It was unclear to me whether Edie was acting or brainstorming during the color sequences.
We may argue that Edie had already been in need of professional help even before meeting Andy Warhol and his bunch. But even then Ciao! Mahnattan send shivers up your spine while showing her life being wasted while authors get credits for artistic merit.