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Summary: Sandy Bates, a successful filmmaker, attends a festival conducted to honor his work. During the course of the weekend he reconsiders his cinematic accomplishments as well as his past relationships. (imdb)
Gordon WIllis's cinematography was amazing, the wistful fantasies that weave in and out of Sandy's world are a great homage to/parody of 8 1/2. More abstract and unconventional from typical Woody, but the nonlinear narrative and occasional bouts of fantasy provide another window to elucidate on the typical themes of faith, purpose, and love that he often tackles.
removing all the idiosyncratic jokes, the core appreciation i have for woody allen remains, and in this movie it's extremely prevailant. no doubt, non-intellectuals wont appreciate it, neither will non-movie buffs, but this is a truly amazing film. it touched my heart in the same way that the unlikely "radio days" did, perhaps no one else can see this genius, but this is truly a masterpiece.
A bit confusing as, on the one hand, it is deep investigation of human feelings, desires and lusts. On the other hand, it is depressing story about a man who gave up with unusual overdose of Woody's whining.
There's a certain irony (not lost on Allen, I'm sure) to such a narcissistic neurotic making such an indulgent, self-referential film. It's a fun concept, though, and makes for an entertaining film, even if it never scales to the heights of its primary inspiration, 8 1/2. Charming and funny. Gordon Willis is the man, by the way.
One of Woody's best. A phenomenal story about a filmmaker, clearly influenced by 8 1/2, but clearly from the creativity of Woody's incredible mind. It also might be his best performance, it's hilarious, it looks fantastic, etc. "Particularly the early, funny ones."
I can only imagine how disgustingly arrogant this must have seemed at the time, but from here it's brilliant - at times clumsy, but with both Annie Hall's leaps of imagination and the humanity that lurks beneath the one-liners in Manhattan (though less frequent here). Add Gordon Willis & the sight of Woody in aviators, and it more than makes up for the scene when they just walk around discussing "the bicycle thief".
Woody Allen very often dances around the autobiographical, self-analytical, and existentially angsty, in a manner resembling his idols Fellini and Bergman. But Stardust Memories is perhaps the earliest example of full-on, heavy-duty self-indulgent deconstruction. At his best, he steps further away from himself than he does here, but as this masturbatory side of him goes, Stardust Memories is very good fun, and never tiring or bothersome.
Woody Allen's "8 1/2" (with a little Bergman thrown in for good measure). It's not his best organized film but it may be his most honest. The black-and-white photography is absolutely gorgeous and Charlotte Rampling gives her most intense and haunting performance.