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©-DR-STARDUST MEMORIES de Woody Allen (1980) p18
17/04/2014 13:12
Woody grows-up and makes fun of himself.
9/10
Author: mifunesamurai from Australia
20 January 2002
Woody has a good look at himself as his career changes from the funny man with glasses who now wants to make serious films. Fun with black and white photography, taking the piss out of Ingmar Bergman's film style and turning serious is all part of Woody's maturity.
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©-DR-STARDUST MEMORIES de Woody Allen (1980) fin
17/04/2014 13:16
Trivia
Showing all 21 items
-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".
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-The movie is based on weekend film festivals that were hosted by movie critic Judith Crist, who can be seen in a cameo in Sandy Bates' magician fantasy.
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-Working title for this film was "Woody Allen No. 4". Allen told an interviewer that "I am not even half of the Fellini of Huit et demi (1963)".
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-This film largely stemmed from a riposte by Woody Allen to a hostile article written about him by novelist Joan Didion, and to the Academy's seeming indifference to his "serious" film Intérieurs (1978).(boring i'd say) This explains the film's relatively sour mood towards the critical community and indeed the movie-going public.
-Tony Roberts' character makes reference to his dating a Playboy Playmate. In his final shot in the movie, Roberts is shown talking to Candy Loving, who was indeed Playboy's 25th-Anniversary Playmate.
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-Woody Allen's final film for United Artists. The UA executives who had worked with Allen for a decade quit UA to form Orion Pictures, where Allen joined them foranother decade.
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-In the scene where the movie execs criticize Sandy's film, two of the execs are Andy Albeck (a real-life executive who worked with Woody Allen at United Artists) and Jack Rollins (one of Allen's long-time managers).
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-When Woody Allen edited his films, he would play old music records in the cutting room to help him establish the rhythm of a scene being edited. This was the first movie in which Allen used the old music on his movie's soundtrack.
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-Woody Allen once said of the casting of Charlotte Rampling in this film in the book "Woody Allen on Woody Allen: In Conversation with Stig Björkman" (1994): "She was just right for that part. I mean, she is so beautiful and so sexy and so interesting. She has an interesting neurotic quality".
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-The character of Dorrie was modeled on Allen's own ex-wife Louise Lasser, who took an uncredited cameo in the film.
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-In 1978, Laraine Newman was quoted in Rolling Stone as having been told by Woody Allen that she was the only member of the original "Saturday Night Live"cast who seemed like a genuine actor. She was given the uncredited role of the only female movie executive.
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-The paperback Sandy Bates (Woody Allen) autographs for the boy while having lunch with the new studio heads is the Monarch Notes version of "The Adventures of Tom Sawyer".
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-The scene where Shelly has made her way into Sandy's bed without his knowledge is an homage to John Huston's Le malin (1979), made just one year earlier.Actress Amy Wright does exactly the same thing to that movie's main character, Hazel Motes.
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-The name of the hotel was The Hotel Stardust. The building was in reality the building of the The Ocean Grove's Great Auditorium, NJ.
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-The enlarged-photo-themed wallpaper in Sandy's apartment changed to offer reflections on or counterpoints to the scenes in which they appear. In the scene where Sandy & Dorrie are arguing about his flirting with her 13-year-old cousin it shows a newspaper headline that reads "Incest betw... father's and..."
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The name of the movie that director Sandy Bates (Woody Allen) was seen making in the film was "Suppression".
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-The movie features a magic show sequence. Woody Allen got his start in show-business performing magic tricks at sixteen years of age.
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-According to the book "Woody: Movies from Manhattan" (1996) by Julian Fox, Sharon Stone said of her big kiss on the window in the train: "I gave it my best shot to melt that sucker".
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Cameo
-Sharon Stone: As a Pretty Girl on train.
-Louise Lasser: Uncredited, as Sandy Bates (Woody Allen)'s Secretary.
-Jack Rollins: Woody Allen's regular producer as a Studio Executive.
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©-DR-COMEDIE EROTIQUE D'UNE NUIT D'ETE de Woody Allen (1982)
18/04/2014 04:32
Comédie érotique d'une nuit d'été (A Midsummer Night's Sex Comedy) est un film américain écrit et réalisé par Woody Allen,sorti sur les écrans en 1982.Ce titre fait référence à la comédie de William Shakespeare : Le Songe d'une nuit d'été (A Midsummer Night's Dream).
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Cast
Woody Allen : Andrew
Mia Farrow : Ariel
José Ferrer : Leopold
Julie Hagerty : Dulcy
Tony Roberts : Maxwell
Mary Steenburgen : Adrian
Adam Redfield : Foxx
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©-DR-COMEDIE EROTIQUE D'UNE NUIT D'ETE de Woody Allen (1982) p2
18/04/2014 04:40
DVD Classik
Résumé
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Eté 1905, Andrew Hobbs (Woody Allen) et son épouse Adrian (Mary Steenburgen) reçoivent pour un week-end des amis dans leur maison de campagne. Il y a là Leopold Surgis, cousin d’Adrian et professeur de philosophie, sa fiancée Ariel (Mia Farrow) et le docteur Maxwell Jordan (Tony Roberts) accompagné d’une jeune infirmière, Dulcy Ford (Julie Hagerty).
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Andrew et Ariel ont, il y a longtemps, été amoureux et l’irruption inattendue de la jeune femme réveille chez lui un désir resté en sommeil. D’autant que son couple bat de l’aile, sa femme Adrian étant frigide. Dans l’espoir de satisfaire son mari, cette dernière prend conseil auprès de Dulcy, femme libre et émancipée.De son côté, Maxwell fait du charme à Ariel ce qui rend fou de jalousie Leopold qui, à son tour, est pris de désir pour Dulcy...
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©-DR-COMEDIE EROTIQUE D'UNE NUIT D'ETE de Woody Allen (1982) p3
18/04/2014 04:46
DVD Classik
ANALYSE ET CRITIQUE
Woody Allen rend hommage à Ingmar Bergman (et son Sourires d’une nuit d’été) avec cette fantaisie en forme de clin d’œil au grand Shakespeare. Au son du Songe d’une nuit d’été de Mendelssohn, il met en scène un marivaudage dont la légèreté cache un temps la profonde tristesse. Le cinéaste y parle des difficultés de l’amour, de la crainte de la mort et de la recherche du bonheur. Au cours de ce week-end bucolique, chassé-croisé où chacun essaye de conjurer une histoire d’amour déçue, les six personnages questionnent leurs certitudes, se demandent s’il n’est pas encore temps pour eux d’imaginer une nouvelle histoire d’amour de s’essayer à une autre vie.
Et comme l’homme a toujours du mal à s’extraire de sa vie pour parvenir à la scruter d’un œil neuf, la nature et la magie viennent à la rescousse.Allen baigne son film dans la douceur,la féerie,les couleurs enchantées les sensations de chaleur, de vent et de lumières.Ce qui peut être vu comme une fantaisie légère dans la carrière du cinéaste, se révèle, par sa délicatesse, sa beauté simple et sa sensibilité, comme l’une de ses plus éclatantes réussites. Allen a ce don d’offrir sous une apparente superficialité des œuvres graves et profondes.
Comédie érotique d’une nuit d’été tranche ainsi radicalement par sa forme avec Stardust Memories, film mal aimé, trop radical, sombre et complexe pour ses admirateurs d’alors.Pourtant, le discours est presque aussi sombre, la redistribution des cartes amoureuses que propose ce marivaudage ne tendant qu’à montrer l’impossible accord entre les désirs, les rêves et la forcément décevante réalité. Mais par la beauté (presque cliché) de ses images,son humour tour à tour délicat et grivois,par le plaisir du jeu qui court de la première à la dernière image, le film laisse le sentiment d’une douce ébriété. Une merveille.
Olivier Bitoun
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