Review of Stardust Memories (1980) by Adam R — 27 Jan 2008

Well-made, thoughtful comedy-drama from the most successful comedy to drama crossover filmmakers in film history.

"Stardust Memories" is a satirical invective against Allen's hangers-on, as well as a meditation on the precarious consequences of fame and artistic expression. Suffice to say, the two require each other to strike a successful balance, and Allen pulls this off exceptionally well; "Memories" isn't the hypocritical fit many critics have painted it as, nor is it an overly-indulgent deconstruction on Allen's own creative process (as "Deconstructing Harry" was). Instead, it falls in between two of Allen's favorite directors', Bergman and Fellini, pet themes of alienated introspection and skeptical treatments of fame and art and entertainment, respectively.

The thoughtful, introspective quality of the film is all Bergman: filmmaker Sandy Bates (Allen) journeys to a weekend honoring him with a series of screenings of his films. There, Bates' questioning mind, overloads as he examines his art, his life, the world around him, fame, his fans, and his romantic relationships with a series of women.

The Fellini connection comes in the shape of the more satirical elements: the overly artistic clips from Bates' fake later films, the legions of preening, sycophantic grotesques who trail Bates throughout the film, among others.

Allen may have lost some of his focus as a filmmaker after "Annie Hall," but he's at his post-"Hall" finest here, striking a perfect balance between humor and introspection that neither Allen's contemporary ("Manhattan") nor later ("Harry") films could match.