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.
Donna and Jane are two American hippies, searching for sex and romance in Paris but, mainly, rich husbands. Eventually, Donna finds a perfume industrialist, Michael, who wishes to marry her... See full summary »
At a New York City restaurant, the patrons are men, nude but for a G-string, waited on by one woman, also clad in a G-string (played by Viva) and a G-bestringed (bestrung?) waiter. Some of ... See full summary »
Like that dreadful mixture of camp and nostalgia that Andy guest-starred on late in life, this farewell-tour picture, shot on a Factory-gang trip to the City of Angels, has the icky feel of soon-to-be-canceled LOVE BOAT with Nanette Fabray, Dick Schaap and maybe Mr. T doing walk-throughs across the gangplank. Only here, it's Nico, doing her heroin-slugged Teuton- icon shtik; a shockingly decayed Ondine, doing his bitchy Pope routine and resembling a cross between Phil Spector and Robert Klein; and Brigid Polk, still large, still using the old needle-in-the-rump routine to get the laughs she got in 1965's THE CHELSEA GIRLS. The whole thing reminds me of a certain facet of Las Vegas, now more or less gone: the one-time Big Timers playing the little room in the little casino for seven bucks. A hipster could always get a lurid frisson from seeing, I dunno, a possibly sozzled Frank Gorshin for the same price as a surf-n-turf buffet special. IMITATION OF CHRIST is the Warholian version of that schadenfreude shiver. I'll bet if Andy could've booked Ondine and Brigid into a six-dollar Vegas gig, he'd have done it. The theatre of it would've been much more exhilarating than this out-of-gas, justifiably unseen movie (which, in addition, seems drastically infected by Paul Morrissey-itis).
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