Ciao! Manhattan is inseparable from the real-life collapse of its star. Filmmakers John Palmer, Chuck Wein, and later David Weisman assembled a hybrid of scripted scenes and raw, cinéma-vérité audio recordings of Edie Sedgwick recounting her time as an Andy Warhol ‘superstar.’ As production lurched from 1967 into a revived shoot in California in late 1970, Sedgwick — repeatedly absent, visibly deteriorating, and battling chronic substance abuse — recorded candid, drug-tinged monologues that the directors folded into the film. The picture’s final form frames those arresting pieces of tape as flashbacks, creating a film that reads like a confessional and, ultimately, an obituary. Sedgwick died of acute barbiturate intoxication in 1971, shortly after the movie entered post-production; the finished film is dedicated to her memory and even ends by printing headlines announcing Sedgwick’s death, forever fusing the fictional Susan Superstar with the tragic celebrity she mirrored. The result was not only a cult artifact of 1960s New York counterculture but also a haunting, unintended cinematic epitaph for a woman whose life and demise play out on screen.
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