Stardust Memories

The problem with Woody has always been that everyone takes his movies more seriously than he does. Here, using the tactics of Felini, he makes fools of his detractors including the greatest detractor of all, Woody himself. For many reasons, I rank this among his best. He removes the restraint of plot, and just goes balls out nuts with his usual philosophical angst, and endless worship of beautiful dames. Oddly enough, without the fetters of convention, to me it was actually less pretentious or indulgent I think people like to call it, and a lot easier to understand and empathize with. One thing that I've always found absurd, and ironically what this film dwells on, is the complaints by fans and critics that he should go back to making comedies. Woody cannot not make a funny movie. If he's in it, and he's talking, I'm laughing. Especially back in this era, when his jokes were so fresh. So make no mistake, this film is loaded with comedy. Finally, I liked his choice of women in this. Charlotte Rampling is what I suppose the word breathtaking was originally meant to describe. If you arent touched by the final scenes with her, you got issues.

Reading some of the comments listed here, I'm dismayed by some of the narrowness of the criticisms ("It's shot in black & white for no reason!" "The flashbacks are indistinguishable from the present day!")... as if these were somehow to be construed as mistakes. Jeez.

I love this film. It rambles a little here and there, and sometimes it's so personal I feel voyeuristic watching it. The montage of Charlotte Rampling towards the end is stunning in how it summarizes Allen's feelings about memory, nostalgia, and the ever-present reality that never seems to allow the past to make sense.

One cannot deny that Allen has a very keen understanding of who he is, as a person, comedian, and lover. This is not to say that he is infallible or somehow more evolved than anyone else, but rather - through the retrospective of his "earlier funny films" - it's clear that he understands his strengths, and - outside the theatre - the weaknesses of his emotional life.

A perfect film for a quiet Sunday.

While this film doesn't get the praise and respect of, say, "Annie Hall" or "Manhattan," I think it is a brilliant look into the mind of a film director. How much of Woody Allen is Sandy Bates? Some, I'm sure, but I think it's more interesting to compare Sandy to Woody Allen's "persona"--that is, who the public thinks he is.

The structure of the film is also quite interesting to me. Allen had done a very non-linear story structure, mixed with occasional flights of fantasy, in "Annie Hall," but "Stardust Memories" does that and piles on a movie within a movie within a movie, and manages to both comment on all that, at the same time as he's telling the story of the brilliant, but self-absorbed Sandy Bates.

A great movie, that you probably should see more than once to appreciate.

A self-indulgent yet enjoyable fantasy by Woody Allen, where he models his style after Fellini's "8 1/2". Allen plays a world famous film star/director not unlike his real self, who's now approached a mid-life crisis and has tired of making "funny movies". Though he's become embittered, he reluctantly agrees to be the guest of honor at a weekend celebration where the best of his films are going to be shown. While there he has to contend with sycophants, obnoxious autograph seekers, childhood flashbacks and different women on a surreal journey to self-realization. Woody received some hard knocks from fans and critics for making this type of highly personal movie, but I think it's very stylish and dream-like. Photographed in glorious black and white. *** out of ****

Only a filmmaking genius like Woody Allen could bring such viable characters to the screen with such life and perception. Allen (who also scripted) is Sandy Bates, an acclaimed, world-reknowned director who attends a weekend festival honoring his works. When he's not being bombarded by mobs of autograph hounds and PR people, he takes time to reflect on himself and the three diverse women in his life: drug-abusing actress Dorrie (Charlotte Rampling), wistful violinist Daisy (Jessica Harper, who also appeared in Allen's "Love and Death" (1975)) and French housewife Isobel (Academy Award-nominee Marie-Christine Barrault). Loaded with the crisp dialogue that we've come to expect from Allen (Best line: "I would trade that Oscar for one more second of life"), "Stardust Memories" is noticably one of Allen's most personal films. Also, what makes "SM" unlike his other works, where his characters do a lot of interacting, the film's focus is mainly on Allen (most beautifully) interacting with himself mentally. Sharon Stone has a bit part in the beginning as a train passenger. Gordon Willis' cinematography is gorgeous. ***1/2 of ****.