In 1980 director/writer/actor Woody Allen had been making
hit comedies for several years. With the success of films like SLEEPER, LOVE
AND DEATH and ANNIE HALL he was the critic’s darling. But he felt unfulfilled
and turned his back on comedies for more insightful dramatic fare. While ANNIE
HALL had slightly turned in that direction he followed that with INTERIORS a
near total drama that didn’t do well. The next year he came out with MANHATTAN
garnering praise once more as he melded drama and comedy. Then he made STARDUST
MEMORIES.
Allen had admitted more than once that he was influenced by
director Ingmar Bergman. Scenes in LOVE AND DEATH often reminded critics of
Bergman’s films. But here he was using much of the style that Bergman used to
tell a more personal story. STARDUST is perhaps one of Allen’s most
autobiographical films.
He stars as director Sandy Bates, a fan favorite for the
comedy films he’s made in the past who now wants to direct more serious
pictures. He wants to make films that explore the meaning of life and how we
fit into the scheme of things. But the studios are reluctant to let him move in
that direction. They want to insert humor into his work in an effort to bank on
his past successes.
Bates is convinced to attend a film festival where they will
be honoring him for his past achievements. While there the fans continue to
push him towards the comedies they are used to and they as well as numerous
friends he runs into try to monopolize his time and attentions. Still he finds
time to reminisce about his life and reflect on what he’s accomplished.
While there he also
reflects on the loves he’s had over the years. Dorrie (Charlotte Rampling)
continues to haunt him, appearing in his mind at various times. A troubled
woman she represents his past. At the festival he meets and is attracted to
Daisy (Jessica Harper) even though she’s there with a pompous college professor
Jack (John Rothman). But before that romance can be set in motion Bates’
current girlfriend Isobel (Marie-Christine Barrault) arrives unexpectedly at
the festival.
A combination of fantasies, dreams and reality mix to swirl
around in the head of Bates as he tries to figure out his place in life. Mixed
with the weekend of festival activities and adoring fans as well as friends
he’s known for years he stirs the pot and by the end of the film may or may not
have come to terms with his life.
As with the reality of Allen at the time the film delves
into his own personal issues of leaving behind more blatant comedy in an effort
to make more serious films. There was an effort to force him back to that mold
which he broke from. The end result was a career where he was capable and able
to make both kinds of films with more success than those who didn’t seem to
have faith in him expected.
Allen’s love life was also part and parcel with his role
here. He’d had more than one muse in various women, most of whom had become his
leading ladies as well. That struggle with what to do not only with his work
but his personal life is a major issue discussed in the film as well.
When I first saw this film I loved it. Watching it now it
remains one of his better films though many might not recall it. Hopefully more
will discover it and realize there is a more complex mind at work than the
simple joke writer so many have thought Allen is.
Perhaps my favorite scene in the movie though involves an
alien spaceship that lands and a group of aliens who talk to him. It turns out
they are fans of his earlier films. One goes so far as to tell him he should go
back to making funny movies.
Twilight Time is releasing this film in their standard
beautiful style with a gorgeous edition in the clearest black and white
cinematography seen. Extras are sparse here with just an isolated score track
and the original theatrical trailer. As with all their films this one is
limited to just 3,000 copies so pick one up if you’re a fan.
Click here to order.
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