Woody Allen likes his privacy. He rarely gives any access to the media or his audience, yet he's aware they exist, and once in a while he makes a movie like "Stardust Memories", where he speaks to them. Following the maturing success of "Annie Hall" and "Manhattan", Woody decided to address the segment of fans who were clamoring for his "early, funny" films. As filmmaker Sandy Bates, Woody attends a film festival in his honor where he reflects back on his cinematic career and love life, the latter of which concentrates on two French women. As usual, Woody claimed years after that this film was not autobiographical. It's probable that some details in the story were constructed or exaggerated for dramatic effect. Still, with Woody's evident evolving as an artist, coupled with references to his own life (studying magic as a child, the numerous fans praising his "early, funny" films), it's clear that some of these thoughts mirror Woody's real life. These inner-reservations may not be as incendiary as the ones presented in the wonderfully blistering "Deconstructing Harry", but they are genuinely honest - and resentful.
There are two types of Woody Allen films; his "New York" films and his experimental, European-influenced films (perhaps a third style would be when he blends the two together). "Stardust Memories" would definitely qualify as one of his experimental European films. Despite the lush black-and-white photography of "Manhattan" cinematographer Gordon Willis, and the all-around nuanced performances (most certainly Jessica Harper and Helen Hanft above all others), this is a strange journey the viewer takes in the film. What transpires is essentially a film within a film within another film, but Woody rolls it out wonderfully (especially the ending, or rather, the ending-within-an-ending-within-an-ending). Given the usual intelligence and intellectualism in Woody's films, criticizing the audience may seem off-putting but he should be allowed to once in a while. Sandy is a relatively normal person whose fame and success breeds hangers-on and freeloaders. Critics are rightfully portrayed here as self-serving media whores (a critic asks a cutting question that implies plagiarizing Vincent Price and then gives a "I've-got-him-now" wink), and Sandy's fans are seen as selfish, inarticulate leeches ("Would you sign my left breast?" "I love your films sir, you have such a degenerate mind!"). It is not lost on Woody for a moment that "Stardust Memories" may be criticized as the work of a narcissist documenting his personal pain and "fobbing it off as art", so he has someone say so within the first ten minutes of the film. Smart move!
What is so strange about this film are the facial features of several characters. Many of the critics and audience members appear with elongated beards, pudgy noses, raised eyebrows and oversized glasses. It always makes me curious when I see the film whether Woody is implying that he only remembers the strange-looking people in his audience or if he sees all of them in a skewered manner. In a way I hope I never learn which is the truth, I enjoy the mystery of it, and it's always a good sign when a movie raises questions. The Q&A sequences, the discussion with the aliens, and Sandy's crashing of a Sci-fi convention are absolutely genius. This is definitely a film for the more hard-core Woody fans, but I think it remains of of his most essential (and so does he).
There are two types of Woody Allen films; his "New York" films and his experimental, European-influenced films (perhaps a third style would be when he blends the two together). "Stardust Memories" would definitely qualify as one of his experimental European films. Despite the lush black-and-white photography of "Manhattan" cinematographer Gordon Willis, and the all-around nuanced performances (most certainly Jessica Harper and Helen Hanft above all others), this is a strange journey the viewer takes in the film. What transpires is essentially a film within a film within another film, but Woody rolls it out wonderfully (especially the ending, or rather, the ending-within-an-ending-within-an-ending). Given the usual intelligence and intellectualism in Woody's films, criticizing the audience may seem off-putting but he should be allowed to once in a while. Sandy is a relatively normal person whose fame and success breeds hangers-on and freeloaders. Critics are rightfully portrayed here as self-serving media whores (a critic asks a cutting question that implies plagiarizing Vincent Price and then gives a "I've-got-him-now" wink), and Sandy's fans are seen as selfish, inarticulate leeches ("Would you sign my left breast?" "I love your films sir, you have such a degenerate mind!"). It is not lost on Woody for a moment that "Stardust Memories" may be criticized as the work of a narcissist documenting his personal pain and "fobbing it off as art", so he has someone say so within the first ten minutes of the film. Smart move!
What is so strange about this film are the facial features of several characters. Many of the critics and audience members appear with elongated beards, pudgy noses, raised eyebrows and oversized glasses. It always makes me curious when I see the film whether Woody is implying that he only remembers the strange-looking people in his audience or if he sees all of them in a skewered manner. In a way I hope I never learn which is the truth, I enjoy the mystery of it, and it's always a good sign when a movie raises questions. The Q&A sequences, the discussion with the aliens, and Sandy's crashing of a Sci-fi convention are absolutely genius. This is definitely a film for the more hard-core Woody fans, but I think it remains of of his most essential (and so does he).