O preço do sucesso

I bought this DVD a couple of years ago, but have only sat down this afternoon and watched it, because the weather was so bad outside, and all I can say is wow! Sure the concert footage scenes are a little unrealistic due to the clothing of the audience,but you can easily overlook this due to the strength of the story and the performances on show here.

Whilst the stars of the film are obviously David Essex and Adam Faith, both who are believable and affecting, the whole cast ably supports them and the casting can't be faulted.

If you have an interest in pop/rock music through the decades, make sure you see this film, it's ripe for rediscovery and should be held in higher regard than it appears to be.

The word 'uneven,' was never so appropriate. An excellent performance from Adam Faith and some good earthy dialogue, very real for the time, alongside some wooden delivery from others in places with all the clunky cliches of the rock bio. One odd thing thing is that relatively recent low-budget British films such as Teslstar and several others have created a 60s atmosphere and appearance so much better than was achieved for this film, made in 1974. I saw it on its original release and we noticed the jarring period-inappropriate extras and other stuff even then.

The film gets better though as it goes on, everyone seems more comfortable showing 70s people in 70s settings and the main character's gradual dislodgement from reality is well handled.

Stardust starts off beautifully. Jim McLaine (David Essex) is working at a carnival in England where business is slow that night, as it is Nov. 22, 1963. In the background is Neil Sedaka singing "Happy Birthday Sweet Sixteen". McLaine meets an old mate (Adam Faith) and tells him the little rock and roll band he's in needs a road manager. Faith sees opportunity and moulds the band known as the Stray Cats into a vehicle for Jim McLaine. There are so many great and true to life moments in this movie, the early recording sessions, Faith's behind the scenes manoeuvering, Larry Hagman arriving when the Stray Cats make it big to muscle in on things, and Jim McLaine's typical 1960's rock and roll odyssey. Essex and Faith are excellent (who says rockers can't act?) and it's a still relevent look at the "star maker machinery behind the popular songs". This picture is a sequel to That'll Be the Day, which is more about McLaine's coming of age in early 60's England, that is a great movie in it's own right, but the two can be watched independently of each other. Very highly recommended. Oh yes, the ending is as well directed, dramatic and atmospheric as the beginning. Great job Michael Apted!

This film is very worthwhile. You can pick out all your fave 60's references from "concept", "rock opera", "managers", dodgy sexual politics and the whole drugs thing. It works so very well because it is not based on one band. Not the Beatles, not the Stones, not the Beach Boys, Tommy Shondell or anyone. It's affectionate and damning of the whole process. It works very well as a "This Is Spinal Tap" without being a lampoon of the music business. Knowing without being smart-ass. A broad covering of its genre without being in broad strokes.

David Essex is the top billed actor but this movie is a tour de force for fellow pop idol Adam Faith, who plays his manager. In truth it's Faith's film from start to finish. His down to earth, world-weary personna contrasts with Essex more star-struck, fragile character and the two combine well to explore the increasingly bizarre world of a working-class rock star on the road to oblivion. Essex' role seems more a supporting act to Faith's in STARDUST compared to THAT'LL BE THE DAY in which he plays the same role of Jim Maclean, a the bright but rather wayward would-be rock star. In truth Essex is better in the earlier film but the increasingly detached way he appears in Stardust does reflect the self destructing Maclean's progress up the ladder of fame but down the ladder of self control and self belief. The other popstar/actors in the cast all perform well, Paul Nicholas as 'Kneetremble Johnny' is the kind of brash self confident Jack-the-lad that we all remember from school, Kieth Moon is, well himself, mad, bad and wild on the drums. Dave Edmunds seems to be enjoying himself throughout and the non-pop star among them, Karl Howman gives good support as the keyboard player. In general they are a charismatic bunch and appear rather more like a real band than most movie versions. The direction has some good moments although it's less earthy and gritty than THAT'LL BE THE DAY, but the surprise is a script that crackles with believable dialogue and the ocassional burst of foul language.In many ways it's not at all the expected starry vehicle for it's leading man. Essex' cool nice-guy stage persona contrast quite starkly with the seriously flawed, pill popping, three-in-a-bed Maclean and no doubt this movie was shocking on it's initial release, not least to the parents who were previously relieved that Essex wasn't the same kind of "bad influence" on their teenage daughters as the Rolling Stones! There are scenes where the sense of time and place are not quite achieved. The audience at one concert look more 1974 than 1965 in their attire and time slips by on several ocassions without clear definition; are those cars quite right for the late 60s or are we already in 1972? It's not a pleasant film, not a feel-good movie. Quite the opposite, it evokes impressions of talent wasted and abused by a system wringing the last dollar out of everyone. Faith's line sums it up "...I own half of you!" and as many an artist in the industry will no doubt concur, his kind of character really does!

A grim, gritty, hard hitting movie, Far more so that many a critic would have us believe. Proof once again that the British film industry of the 1970s was far from dead and buried.