Stardust Memories (1980)

When I originally watched Interiors (1978) and Stardust Memories (1980), I had watched Bergman and Fellini, but I don't remember thinking about or even making the connection that Woody Allen was simply copying (or paying tribute) to their work. I'm sure a lot of his more knowledge fans knew what he was doing, but it does make a difference to have Bergman and Fellini in mind when watching these two films.

In Stardust Memories, we have a director, Sandy (Allen) trapped in his own fame. He's known for his comedies, and everyone expects comedies from him. They don't want him to be serious. They don't want him to change, but Sandy doesn't want to be trapped. -- in the types of films he makes, or in life, for that matter. If he feels serious, then he wants the artist freedom to be serious.

This isn't a film about anything more than a director going about his business, professionally and personally. It really is Woody Allen's 8 1/2. The reason I don't like it completely is twofold. First, it's repetitive. And second, it's too highly sexed, as most Woody Allen films tend to be. I just find it impossible to believe that Woody Allen (or the character he plays) can get himself involved with all these women. I didn't even bother to track how many simultaneous relationships he's involved in, let alone all of the possible female fans who throw themselves at him. I mean, seriously? That little twerp?

Dorrie (Charlotte Rampling) is the primary relationship, I guess, and Sandy does make a nice realization at the end. Basically. it's the memory of her giving him a smile in a quiet moment.

Woody Allen can do that in his films. He can be over-the-top and completely obnoxious for 85 minutes, and then somehow, usually at the ending, he gives you that one nice scene. He's always good at endings, even if they sometimes feel a little forced... he knows what the ending should be, and he knows how to send viewers home with a satisfied feeling.

In fact, it's probably that one little memory that bumps this film up 1/2 a star for me. Between 8 1/2 and this one, I would still go with Fellini, but I have to admire Allen for experimenting and bringing European masters to his American audience (assuming they weren't already French and Italian film fans to begin with).

Rating: 3.5/5 stars

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