| Photos (see all 7 | slideshow) |
| Edie Sedgwick | ... | Susan Superstar | |
| Wesley Hayes | ... | Butch | |
| Isabel Jewell | ... | Mummy | |
| Jeff Briggs | ... | Geoffrey (as Geoffrey Briggs) | |
| Paul America | ... | Paul | |
| Tom Flye | ... | Tom | |
| Gabriel Lampa | ... | Mario | |
| Pat Hartley | ... | Yoli | |
| Nell Bassett | ... | Receptionist | |
| Charlie Bacis | ... | Doctor Robert (as Bhavananda) | |
| Jane Holzer | ... | Charla (as 'Baby' Jane Holzer) | |
| David Weisman | ... | David | |
| Wesley Rand | ... | Wes | |
| Viva | ... | Diana - Vogue editor | |
| Roger Vadim | ... | Dr. Braun | |
| Brigid Berlin | ... | Brigid (as Brigid Polk) | |
| Lilimor Mercer | ... | Lil | |
| Rosko | ... | Locker Attendant | |
| Lorenzo | ... | Rapist (as Titus & Lorenzo) | |
| Titus | ... | Rapist (as Titus & Lorenzo) | |
| Allen Ginsberg | ... | Himself | |
| Christian Marquand | ... | Entrepreneur | |
| John Nahan | ... | Lawyer | |
| Jean Margouleff | ... | Mister Verdecchio (as Mister Verdecchio) | |
| rest of cast listed alphabetically: | |||
| Nena Thurman | ... | (scenes deleted) | |
| Richie Berlin | ... | Richie (uncredited) | |
| Robert Thurman | ... | Bob (uncredited) | |
Directed by | |||
| John Palmer | |||
| David Weisman | |||
Writing credits | ||
| John Palmer | (screenplay) and | |
| David Weisman | (screenplay) | |
| Robert Benard | additional story | |
| Genevieve Charbon | original concept (as Genevieve Charbin) | |
| John Palmer | additional story | |
| Chuck Wein | original concept | |
| David Weisman | additional story | |
Produced by | |||
| Michael Maiello | .... | associate producer | |
| Robert Margouleff | .... | producer | |
| David Weisman | .... | producer | |
Original Music by | |||
| Gino Piserchio | |||
Cinematography by | |||
| John Palmer | |||
| Kjell Rostad | |||
Film Editing by | |||
| Robert Farren | |||
Costume Design by | |||
| Betsy Johnson | |||
Production Management | |||
| Janet Palmer | .... | production supervisor | |
Sound Department | |||
| Robert Margouleff | .... | sound | |
| Harold Wordsman | .... | sound effects editor | |
Camera and Electrical Department | |||
| Bob Adelman | .... | still photographer | |
| Jeff Briggs | .... | grip (as Geoffrey Briggs) | |
| Eduardo Lopez de Romana | .... | electric | |
| Larry Shock | .... | electrician | |
| Steve Shore | .... | stills | |
| James Signorelli | .... | camera operator: second unit | |
| David Weed | .... | grip | |
Editorial Department | |||
| Margareta Schiappa | .... | assistant editor (as Marni Schiappa) | |
Other crew | |||
| Susan Coppola | .... | script girl | |
| Terry Stevenson | .... | color slides | |
| David Weisman | .... | title designer | |
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| The Unbearable Lightness of Being | Little Athens | American Beauty | Ruang rak noi nid mahasan | River's Edge |
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| Full cast and crew | Company credits | External reviews |
| IMDb Biography section | IMDb USA section | Add this title to MyMovies |
This might register as the most disturbing movie I've ever seen--and I've seen a lot of Italian cannibal movies. Edie Sedgwick, the most tragic (because most beautiful) of all contemporary tragic beauties, undergoes her last humiliation in this nightmarish fake-"underground" movie, which suggests the movie the Manson Family might have made if Sharon Tate hung around them for a few weeks. Rebounding from a stint in rehab, and a meteoric rise in the Warhol Factory world, "Susan" (Edie) frugs topless in her tent in the swimming pool behind Mummy's house, while a hitchhikin' hippie from Houston thinks in voiceover narration, "Maybe now I get me some poont!" For anyone nostalgic for the idealism of the Summer of Love, CIAO! MANHATTAN is essential viewing--its cold-blooded delectation of its terminal heroine makes old stoners like Dennis Hopper and Oliver Stone look like pantywaists. Why Sedgwick participated in this drooly, tabloid-voyeuristic cartoon of her steep decline is hard to imagine: Her famous beauty is in such staggering ruins that the filmmakers evilly pose her against a poster of her winsome debutante self to mark the damage. The experience of watching this movie resembles seeing a once-dewy ingenue dancing a jig for coal miners to buy a ten-dollar rock of crack.