Stardust Memories's Recent Activity

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Title: Stardust Memories
Year: 1980
Director: Woody Allen
Plot: Woody Allen's tenth film as writer/director, Stardust Memories opens with a scene reminiscent of the opening of 8 1/2 and continues to use that film for inspiration. Sandy Bates (Allen) sits in a train at a train station, the car filled with very unhappy looking people. In a train on another set of tracks, Bates sees a wonderful party going on. A beautiful woman blows him a kiss as the happy train pulls out of the station. Bates is a famous film director who has been invited to attend a festival of his work being held at the Stardust hotel. He attends the event, but is ceaselessly harassed by fans who accost him and repel him in equal measure. While consistently hearing the complaints from fans, critics, and even space aliens that his earlier comedies are superior to his dramatic work, Bates juggles a trio of women in his private life. His encounters during the course of the retrospective force Bates to take a long look at himself. Sharon Stone makes one of her first film appearances as the woman who blows Sandy a kiss. ~ Perry Seibert, All Movie Guide
Times Tagged: 9
Number of Lists: 13
Number of blog posts: 1
Number of discussion threads: 1
SpoutRating: 3
]]>Mon, 06 Jul 2009 05:41:52 GMTStardust Memories1980Woody Allen<a href="/players/P____79388/default.aspx" style='text-decoration:underline'>Woody Allen</a>'s tenth film as writer/director, Stardust Memories opens with a scene reminiscent of the opening of 8 1/2 and continues to use that film for inspiration. Sandy Bates (Allen) sits in a train at a train station, the car filled with very unhappy looking people. In a train on another set of tracks, Bates sees a wonderful party going on. A beautiful woman blows him a kiss as the happy train pulls out of the station. Bates is a famous film director who has been invited to attend a festival of his work being held at the Stardust hotel. He attends the event, but is ceaselessly harassed by fans who accost him and repel him in equal measure. While consistently hearing the complaints from fans, critics, and even space aliens that his earlier comedies are superior to his dramatic work, Bates juggles a trio of women in his private life. His encounters during the course of the retrospective force Bates to take a long look at himself. <a href="/players/P____68496/default.aspx" style='text-decoration:underline'>Sharon Stone</a> makes one of her first film appearances as the woman who blows Sandy a kiss. ~ Perry Seibert, All Movie Guide9Taggedy Taggged (6-10)13113http://www.spout.com/ProductImages/t11029bgaad.jpghttp://www.spout.com/films/Stardust_Memories/32774/default.aspxFilm Spout Post: Stardust Memories (1980, Woody Allen, USA) *** http://www.spout.com/blogs/kristen/archive/2008/5/16/29352.aspx

Post By: kristen
Post To: kristen Blog
Post Date: 5/16/2008 8:58:42 PM
Body: I am sorry to mention Fellini's 8 ½ (1963) because this movie is not 8 ½. It is Woody Allen’s Stardust Memories, but there are so many plot overlaps that it is hard to forget 8 ½. The movies are different: one cannot repeat 8 ½ and I do think that Allen makes the story of Stardust Memories his own. I do not even think that Stardust Memories should be compared to 8 ½, but I see why it is. I mean, the opening sequence is so similar to the opening of 8 ½. I am not going into the other similarities. I think that the big difference is that Allen tries to find meaning, while Fellini does not try for anything per se. Stardust Memories searches, 8 ½ happens. So now to leave all 8 ½ comparisons behind, Woody Allen’s Stardust Memories chronicles the life of a successful filmmaker who strives for meaning, for some justification of comedic movies when the world suffers so much. The film provides insight into Allen as a filmmaker, his egoism, narcissism, neuroticism, heroism. Although the movie does give more insight to Woody Allen’s character, the point of Stardust Memories is not for Woody Allen to complain about his difficulties in filmmaking but rather to point out inconsistencies in humanity and poise a philosophical debate about meaning. The film is a metaphysical mess of levels of reality: film inside a film inside a film relating to the real life of a filmmaker in a film reflecting the true filmmaker outside of the film (you get the picture). Sifting through these levels of reality can be confusing but that adds to the dimension of the search for meaning. What place does comedy have in the world? What should we be doing with our lives? Can movies bring us meaning? What role do we play in life? Should we be won over be sentimental traps? One part in Stardust Memories, Woody Allen reflects on life’s meaning, almost gives up, but then remembers one moment where he looked at one of his girlfriends and found happiness in her. This is a beautiful notion, but the film does not leave us with that sentimentality. It questions the beauty of the moment. It is a good move, for it allows us to question beauty. What is the meaning of this happiness? Stardust Memories questions and does not answer. The end hurls the audience again into the metaphysical world and leaves one to decide for himself whether the falsity of the film renders everything meaningless, or if the comedy saves it, or if there is another way. Meaning is left to the audiences' discretion. ~Kristen Gorlitz
]]>Sat, 17 May 2008 00:58:42 GMTkristenkristen Blog5/16/2008 8:58:42 PM I am sorry to mention Fellini's 8 ½ (1963) because this movie is not 8 ½. It is Woody Allen’s Stardust Memories, but there are so many plot overlaps that it is hard to forget 8 ½. The movies are different: one cannot repeat 8 ½ and I do think that Allen makes the story of Stardust Memories his own. I do not even think that Stardust Memories should be compared to 8 ½, but I see why it is. I mean, the opening sequence is so similar to the opening of 8 ½. I am not going into the other similarities. I think that the big difference is that Allen tries to find meaning, while Fellini does not try for anything per se. Stardust Memories searches, 8 ½ happens. So now to leave all 8 ½ comparisons behind, Woody Allen’s Stardust Memories chronicles the life of a successful filmmaker who strives for meaning, for some justification of comedic movies when the world suffers so much. The film provides insight into Allen as a filmmaker, his egoism, narcissism, neuroticism, heroism. Although the movie does give more insight to Woody Allen’s character, the point of Stardust Memories is not for Woody Allen to complain about his difficulties in filmmaking but rather to point out inconsistencies in humanity and poise a philosophical debate about meaning. The film is a metaphysical mess of levels of reality: film inside a film inside a film relating to the real life of a filmmaker in a film reflecting the true filmmaker outside of the film (you get the picture). Sifting through these levels of reality can be confusing but that adds to the dimension of the search for meaning. What place does comedy have in the world? What should we be doing with our lives? Can movies bring us meaning? What role do we play in life? Should we be won over be sentimental traps? One part in Stardust Memories, Woody Allen reflects on life’s meaning, almost gives up, but then remembers one moment where he looked at one of his girlfriends and found happiness in her. This is a beautiful notion, but the film does not leave us with that sentimentality. It questions the beauty of the moment. It is a good move, for it allows us to question beauty. What is the meaning of this happiness? Stardust Memories questions and does not answer. The end hurls the audience again into the metaphysical world and leaves one to decide for himself whether the falsity of the film renders everything meaningless, or if the comedy saves it, or if there is another way. Meaning is left to the audiences' discretion. ~Kristen Gorlitz Spout Post: Re: Top 5 black and white movies made after 1970 http://www.spout.com/groups/Top_5/Re_Top_5_black_and_white_movies_made_after_1970/190/6017/1/ShowPost.aspx

Post By: BigJeffLebowski
Post To: Top 5
Post Date: 3/4/2007 1:35:04 PM
Body: Manhattan's my favorite film, so that's obviously going to have to be my number one. Beyond that, though, the question must be raised: how much can the mere aesthetics of the film affect our selections? There are some black and white films which are beautifully shot, but are not as good as a Jarmusch or Clerks. Trying to focus on the film itself, I'm going to have to say:1. Manhattan (and also Stardust Memories and Broadway Danny Rose by Allen)2.The Last Picture Show3. Raging Bull4. Pi5. LennyThese are all films which I think are superb upon their own merits, but the fact that they are in black and white adds a new dimension.No one really brings this up when they mention the film, but I think the monetary restraints on the original Clerks (black and white, stationary camera) give the film a certain security-camera feel that really helps the juxtaposition of the mundane and the outlandish, and is part of the reason Clerks is able to assimilate the two so well.I really agree with everyone who said Man Bites Dog, Ed Wood, Good Night and Good Luck, The Man Who Wasn't There, and the David Lynch films, but we are limited to five...And shouldn't we have special mention for films that either spot-color or switch between black and white and color for more than simply flashbacks? For instance: Rumble Fish, American History X, Pleasantville, Memento, Wings of Desire, Zelig, The Notorious Bettie Page?
]]>Sun, 04 Mar 2007 18:35:04 GMTBigJeffLebowskiTop 53/4/2007 1:35:04 PMManhattan's my favorite film, so that's obviously going to have to be my number one. Beyond that, though, the question must be raised: how much can the mere aesthetics of the film affect our selections? There are some black and white films which are beautifully shot, but are not as good as a Jarmusch or Clerks. Trying to focus on the film itself, I'm going to have to say:1. Manhattan (and also Stardust Memories and Broadway Danny Rose by Allen)2.The Last Picture Show3. Raging Bull4. Pi5. LennyThese are all films which I think are superb upon their own merits, but the fact that they are in black and white adds a new dimension.No one really brings this up when they mention the film, but I think the monetary restraints on the original Clerks (black and white, stationary camera) give the film a certain security-camera feel that really helps the juxtaposition of the mundane and the outlandish, and is part of the reason Clerks is able to assimilate the two so well.I really agree with everyone who said Man Bites Dog, Ed Wood, Good Night and Good Luck, The Man Who Wasn't There, and the David Lynch films, but we are limited to five...And shouldn't we have special mention for films that either spot-color or switch between black and white and color for more than simply flashbacks? For instance: Rumble Fish, American History X, Pleasantville, Memento, Wings of Desire, Zelig, The Notorious Bettie Page? Spout Tag:relationship http://www.spout.com/members/0/tags/relationship/MemberTagFilms.aspxrelationship
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