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Chelsea Girls (1966)

 -  Drama  -  November 1968 (Denmark)
6.5
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Ratings: 6.5/10 from 716 users  
Reviews: 14 user | 11 critic

Lacking a formal narrative, Warhol's art house classic follows various residents of the Chelsea Hotel in 1966 New York City, presented in a split screen with a single audio track in conjunction with one side of screen.

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Title: Chelsea Girls (1966)

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Cast

Cast overview, first billed only:
Brigid Berlin ...
Herself - The Duchess (as Brigid Polk)
Randy Borscheidt ...
Himself
Ari Boulogne ...
Himself (as Ari)
Angelina 'Pepper' Davis ...
Herself
Dorothy Dean ...
Herself
Eric Emerson ...
Himself
Patrick Flemming ...
Himself
Ed Hood ...
Himself
Arthur Loeb ...
Himself
Donald Lyons ...
Himself
Gerard Malanga ...
Son
Marie Menken ...
Mother
Mario Montez ...
Transvestite
Nico ...
Herself
Ondine ...
Himself - Pope
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Storyline

Lacking a formal narrative, Warhol's art house classic follows various residents of the Chelsea Hotel in 1966 New York City, presented in a split screen with a single audio track in conjunction with one side of screen.

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

Language:

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Release Date:

November 1968 (Denmark)  »

Also Known As:

Chelsea-lányok  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Made history by becoming the first "underground" film to be shown in a mainstream cinema. In a limited run at New York's Cinema Rendezvous from December 1st 1966. See more »

Quotes

[last lines]
Himself - Pope: By the way, "The Bride Of Frankenstein" is the greatest movie ever made. It's just fabulous... Isn't it?
See more »

Connections

Featured in Nico Icon (1995) See more »

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User Reviews

"Everything is pretty."
17 February 1999 | by (Los Angeles) – See all my reviews

Maddening but exquisite--one of the most beautiful of all American movies. The genius of Warhol as filmmaker was his stubborn insistence--conscious or otherwise--on bringing the principles of portraiture in painting to movies. Warhol understood that the power of the portrait is as psychological as it is technical, and his strategies for eliciting "acting" were as excruciating as they are potent. In his filmed "still lifes" of Edie Sedgwick and Henry Geldzahler he seemed to extract a spiritual radiance through duration and discomfort as if from a syringe, and in "Chelsea Girls" the concentrated sadism of his directing style produces similarly unpredictable, human, extravagant results. Shown with two projectors (one randomly producing sound, the other silent), the film shows three and a half hours of faces--superstars and hangers-on hung out to dry in front of an impassive and directionless camera that, after the maestro's fashion, silently encourages the "performers" to entertain. Some twist in the wind, others outdo all expectations; something palpably human, essential, unprojected is born of all of them. The film is hard going when seen in a theatre, but by the time Warhol gets to the transcendent, almost wordless rhapsody of the final garishly colored reels, the trek pays off like a sunburst.


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