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Stardust Memories

  • 1980
  • Tous publics
  • 1h 29min
NOTE IMDb
7,2/10
25 k
MA NOTE
Woody Allen and Charlotte Rampling in Stardust Memories (1980)
The film follows famous filmmaker Sandy Bates, who is plagued by fans who prefer his "earlier, funnier movies" to his more recent artistic efforts, while he tries to reconcile his conflicting attraction to two very different women: the earnest intellectual Daisy and the more maternal Isobel. Meanwhile, he is also haunted by memories of his ex-girlfriend, the unstable Dorrie.
Lire trailer2:47
1 Video
99+ photos
SatireShowbiz DramaComedyDrama

En assistant à une rétrospective de son travail, un cinéaste se remémore sa vie et ses amours qui lui ont inspiré ses films.En assistant à une rétrospective de son travail, un cinéaste se remémore sa vie et ses amours qui lui ont inspiré ses films.En assistant à une rétrospective de son travail, un cinéaste se remémore sa vie et ses amours qui lui ont inspiré ses films.

  • Réalisation
    • Woody Allen
  • Scénario
    • Woody Allen
  • Casting principal
    • Woody Allen
    • Charlotte Rampling
    • Jessica Harper
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,2/10
    25 k
    MA NOTE
    • Réalisation
      • Woody Allen
    • Scénario
      • Woody Allen
    • Casting principal
      • Woody Allen
      • Charlotte Rampling
      • Jessica Harper
    • 131avis d'utilisateurs
    • 69avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 2 nominations au total

    Vidéos1

    Official Trailer
    Trailer 2:47
    Official Trailer

    Photos115

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    Rôles principaux99+

    Modifier
    Woody Allen
    Woody Allen
    • Sandy Bates
    Charlotte Rampling
    Charlotte Rampling
    • Dorrie
    Jessica Harper
    Jessica Harper
    • Daisy
    Marie-Christine Barrault
    Marie-Christine Barrault
    • Isobel
    Tony Roberts
    Tony Roberts
    • Tony
    Daniel Stern
    Daniel Stern
    • Actor
    Amy Wright
    Amy Wright
    • Shelley
    Helen Hanft
    Helen Hanft
    • Vivian Orkin
    John Rothman
    John Rothman
    • Jack Abel
    Anne DeSalvo
    Anne DeSalvo
    • Sandy's Sister
    • (as Anne De Salvo)
    Joan Neuman
    • Sandy's Mother
    Ken Chapin
    • Sandy's Father
    Leonardo Cimino
    Leonardo Cimino
    • Sandy's Analyst
    Eli Mintz
    Eli Mintz
    • Old Man
    Bob Maroff
    • Jerry Abraham
    Gabrielle Strasun
    • Charlotte Ames
    David Lipman
    David Lipman
    • George - Sandy's Chauffeur
    Robert Munk
    • Boy Sandy
    • Réalisation
      • Woody Allen
    • Scénario
      • Woody Allen
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs131

    7,224.6K
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    Avis à la une

    10Slothrop-7

    An Allen Classic

    In my opinion, Stardust Memories is Allen's greatest achievement. The film perceptively explores the relationships between art and reality, between the artist and his work, between the work and its consumers. Beyond its philosophic concerns though, this is also an incredibly funny film. There are more genuinely funny moments within this serious film than in many of Allen's earlier pure comedies. It skewers the movie industry, the movie-going public, Allen's own earlier work, Allen's present insecurities (surprise!), and a number of other targets. Intelligent, thought provoking, and at times hilarious, this film is an overlooked gem in the Allen canon.
    ThreeSadTigers

    A kaleidoscopic masterpiece of absurd humour, abstract thought, cinema and nostalgia

    Funny, moving, imaginative, bold, intelligent, surreal, nostalgic and beautiful; Stardust Memories (1980) is one of Allen's greatest films, if not THE greatest. At its most simple level, the film is a merciless satire on the film industry, on the notion of celebrity, and on Allen's public persona, as he here essays the role of a stand-up comedian turned filmmaker wrestling with a number of weighty personal issues, including the death of a close friend, the breakup of a relationship and the beginning of an affair - all the while trying desperately to reconcile the need for personal success in relation to artistic expression. It is without question one of the filmmaker's most radical and imaginative works released at the peak of his powers, featuring a great deal of wit, warmth and human emotion alongside irreverent moments of personal homage, silliness and surrealism.

    The film opens on a train as a ticking clock fills the soundtrack. Allen's character, Sandy Bates sits helpless in the carriage, surrounded by ugly, depressed looking people who stare back at him with dead eyes. As he looks out of the window he sees another carriage, this time filled with beautiful, revelling sophisticates all cheering and waving. Sandy tries desperately to convince the conductor to let him off the train so that he can switch carriages, but his pleas fall on deaf ears. As he tries frantically to signal to the other train, a beautiful woman kisses the glass and laughs as Sandy's train pulls away from the station. The next shot shows the ugly, depressed people from the train wandering through a garbage dump, recalling elements of The Seventh Seal (1957) and One Plus One (1968) before the film reaches the end of the reel and we realise that what we are seeing is a film within a film. The sequence works on a number of levels - firstly, as an extended homage to Fellini's 8 ½ (1963); establishing the theme of film-making and the games within the narrative, etc. Secondly, it is a comment on the nature of the character and on life itself; with none of the characters satisfied with the situations that they're in and always wanting something more. Lastly, the scene establishes the tone of the film; being every bit as stark, surreal and enigmatic as anything by Bergman, Fellini, Godard, etc - with the comment on mortality, on artist expression and on the journey of life - but is also incredibly funny.

    Unlike later films of Allen that were more mature and more serious in-tone than the "early funny ones", like, for example, Crimes and Misdemeanours (1988) or Husbands and Wives (1992), Stardust Memory is a film rich in absurd humour, imagination, fun and frivolity, whilst also containing some of Allen's most moving and intelligent ideas. I'd liken it to a combination of the aforementioned 8 ½ and elements of the Coen Brothers' last definitive film The Man Who Wasn't There (2001), which would seem to have taken influence from certain elements depicted here. As a comment on the struggle of the filmmaker and the argument of art over commerce, Allen is entirely ruthless; turning the backroom nature of film production into a leering Fellini-like circus of stupidity, banality and contempt for the audience. At one point, Allen's character is being berated by the studio heads for turning in a film that is "pretentious, self-indulgent and unfunny", while carefully positioned in front of the famous Eddie Adams photograph of the execution of Vietcong prisoner Nguyễn Văn Lém; creating a tragic echo of that later scene which foreshadowed the murder of John Lennon.

    It also shows the absurdity of film-making and the pressure for Sandy to return to former glories and produce work simply to satisfy the masses. Although Allen claims that there are no elements of auto-biography in his work, I think he is wrong. Even if does it unconsciously, without thinking, it's impossible to see Stardust Memories and not see it as a comment on the critical and commercial failure of his earlier film Interiors (1978). With that particular project, Allen was able to turn to the massive success of Annie Hall (1977) into producing a more sombre and serious film with heavy references to both Bergman and Chekhov. The film was a critical failure and led into the production of Manhattan (1979); one of Allen's most celebrated and iconic films, but one that he apparently wanted to have destroyed. Many of these personal issues can be seen in the character of Sandy, who is struggling through life like the rest of us and yet is expected to entertain. At one point he argues that it's impossible to be funny with so much sadness in the world, whilst simultaneously creating a film that is very funny as well as somewhat moving. The second element of the film deals with the memory of Sandy's troubled relationship with tortured manic depressive Dorrie. The relationship is sensitively handled and brilliantly performed by Charlotte Rampling, who conveys the fears, desired, dread and anxiety of this character on a path to self-destruction.

    In the final act of the film the walls between life and death, fact and fiction, fantasy and memory all come tumbling down as Allen creates a kaleidoscope of elements all reoccurring from previous sequences in the film. The colourful characters, all chosen for their often unique physical features that are further distorted by the skewed, black and white cinematography of Gordon Willis also adds to the film's somewhat stark and surreal approach, which is filled with imaginative visual composition, intelligent production and location design, elements of wild fantasy and abstract, absurdist humour. By the end of the film, we no longer know if what we've experienced is real, literal or a theoretical film within a film, but we know the experience has been a unique one.
    10silvertron

    A little self induldgent, but brilliantly so

    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.
    glgioia

    Ignore the Critics on this one. Its great.

    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.
    7Cinemayo

    Stardust Memories (1980) ***

    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 ****

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Woody Allen has always strenuously denied that the film is autobiographical. Allen has said in the book "Woody Allen on Woody Allen: In Conversation with Stig Björkman" (1994): "[Critics] thought that the lead character was me. Not a fictional character but me. Not a fictional character but me, and that I was expressing hostility towards my audience. That was in no way the point of the film. It was about a character who is obviously having a sort of nervous breakdown and, in spite of success, has come to a point in his life where he is having a bad time".
    • Citations

      Sandy Bates: You can't control life. It doesn't wind up perfectly. Only-only art you can control. Art and masturbation. Two areas in which I am an absolute expert.

    • Connexions
      Featured in Sneak Previews: In God We Trust, Coast to Coast, Somewhere in Time, Stardust Memories, Oh God! Book II (1980)
    • Bandes originales
      Hebrew School Rag
      Music by Dick Hyman (uncredited)

      Piano Music Arranged and Performed by Dick Hyman

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    FAQ19

    • How long is Stardust Memories?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 5 décembre 1980 (France)
    • Pays d’origine
      • États-Unis
    • Langues
      • Anglais
      • Français
      • Persan
    • Aussi connu sous le nom de
      • Recuerdos
    • Lieux de tournage
      • The Great Auditorium, Ocean Grove, New Jersey, États-Unis(exterior of The Stardust Hotel)
    • Sociétés de production
      • Jack Rollins & Charles H. Joffe Productions
      • Rollins-Joffe Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 10 000 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 10 389 003 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 326 779 $US
      • 28 sept. 1980
    • Montant brut mondial
      • 10 389 003 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 29 minutes
    • Couleur
      • Black and White
    • Mixage
      • Mono
    • Rapport de forme
      • 1.85 : 1

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