Chelsea Girls (1966) [Re-UP]

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Chelsea Girls (1966) [Re-UP]

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Viewed in the cold light of the 21st century, The Chelsea Girls, Andy Warhol's epic exploration of the many sordid eccentricities of his circle of "superstar" acquaintances, now seems like some sort of anthropological document, albeit one with its own odd charm, in which the Manhattan Hipster Speed Freak is observed in its natural environment. Shot in 1966, The Chelsea Girls was filmed in a manner befitting a documentary.

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Chelsea Girls (1966) [Re-UP]

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Warhol sets up his camera, turns it on, and lets it roll for about 35 minutes until he literally runs out of film while his subjects either prattle on about whatever crosses their drug-ravaged imaginations (several characters shoot up speed on camera, while Eric Emerson was supposedly tripping on acid when he filmed his long monologue) or enact free-form psychodramas replete with lots of shouting and bitter accusations. While there's plenty of restless panning and zooming, there are no cuts until the camera simply goes to leader and the next roll appears.

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Chelsea Girls (1966) [Re-UP]

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The Chelsea Girls is also screened with two separate images running side by side for its three-and-a-half hour duration. Only one is audible, which sometimes makes for an interesting juxtaposition of active and passive images, though it just as often means the image we see (but can't hear) seems more compelling than the one to which we're allowed to listen. While The Chelsea Girls is often witty, it's more frequently cruel, and the bitchy venom that pours out of many of the protagonists – most notably "Pope" Ondine, Brigid Polk, and Mary Woronov (here posing as "Hanoi Hannah") – becomes a bit hard to take by the time the film finally draws to a close.

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Chelsea Girls (1966) [Re-UP]

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This seems less like "The Iliad of the Underground" (as Newsweek famously called it in 1967) than a very long look at people you wouldn't want to encounter in the real world. (It's also significant that, in a film that was praised for its "realism," nearly everyone is overacting at the height of their powers, even if they are "playing themselves.") But of the films Warhol himself directed (before he essentially became a producer for Paul Morrissey), The Chelsea Girls has stood the test of time far better than most, and if it's as much a freak show as cinema, the freaks in question are compelling enough that you're willing to go the distance with them at least once, though how often you'll want to visit this establishment is very much a matter of taste.

Mark Deming, Rovi

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A film whose importance as a 1960s cultural statement outweighs any intrinsic value it may have as a film, CHELSEA GIRLS is nevertheless fascinating, provocative, and hilarious–once you surrender yourself to the totally new way of watching cinema that Andy Warhol films require. Think of it as Antonioni in slow-motion and enjoy the heavy ennui that settles over you. As with most of his other films Warhol simply turned the camera on his camp followers and let them play as they might. A number of his mock-Hollywood "superstars" from the famous Factory crowd are actually born performers. Look for strange and funny moments from Ondine, Ingrid Superstar, Brigid Polk, Ed Hood, Mario Montez, Edie Sedgwick and Nico among others.

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Chelsea Girls (1966) [Re-UP]

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CHELSEA GIRLS isn't an easy film to write about and is almost impossible to rank in terms of any "quality" it may possess. Maybe that's why we've given it four stars–because it's one of the purest expressions of how Warhol not only explodes the categories of what art is (remember the famous Campbell's Soup can?) but also that he assaults in revolutionary fashion all the conventions we hold dear. CHELSEA GIRLS is historically notable for requiring two projectors operating side by side (not that the two separate films have any connection!) and for its popular success on the art house circuit, which subsequently opened its doors to other "underground" films. While perhaps not as potent or as clever as more compact masterworks like VINYL, BLOW JOB, BEAUTY #2, MY HUSTLER, NUDE RESTAURANT and LONESOME COWBOYS, CHELSEA GIRLS is probably the ultimate summation of Warhol's cinema. Check it out once… if you dare.

TV Guide

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Chelsea Girls (1966) [Re-UP]

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Special Features (on DVD 2):
- Scenes from the life of Andy Warhol, directed by Jonas Mekas, 37 min (subtitles none)
- A video thing by Enrico Ghezzi, 4 min (EN subtitles)
- Interview to Achille Bonito Oliva, 6 min (EN subtitles)
- Interview to Mario Zonta, 9 min (EN subtitles)
- Paul Morrissey meets Jonas Mekas, 15 min (ITA subtitles)

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