The late Edie Sedgwick, ex-Warhol "superstar," in a role modelled on her own life. The film was shot, off and on, over five years (before completion, the leading lady died), and it looks that way, as if the idea of what the film was about changed several times, and as if the varied footage was ultimately arranged inside a large cocktail shaker. Some of the manufactured glamour of Underground Chic is manifested in Sedgwick's empty-swimming-pool home and her scrapbook collection of news clippings and fashion photos, and in brief appearances by other Warhol satellites like Viva, Brigid Polk, Paul America, and Baby Jane Holzer. Their mystique is somewhat tarnished, though, by shaping the film around a fatuous Southern-bumpkin character with a Casey Jones cap and a grating voice that stands out even amid a large assemblage of voices that croak, squawk, and yawp, unbearably. Directed by John Palmer and David Weisman. (1972) — Duncan Shepherd
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