In 1984, British journalist Arthur Stuart investigates the career of 1970s glam superstar Brian Slade, who was heavily influenced in his early years by hard-living and rebellious American singer Curt Wild.
Jonathan Rhys Meyers,
Karen and Richard Carpenter are young musicians living with their parents in Downey, California. Richard shows great promise as a songwriter and Karen, who plays drums, begins to sing vocals, thrusting the duo into stardom. They become wildly successful, Karen's striking voice and Richard's soft melodies capturing the essence of the nation's yearning for calm after the turbulent Sixties. But Karen strives for perfection and becomes increasingly fearful of her weight, despite being a slender woman. Eventually she is diagnosed with anorexia nervosa, a mental disease relating to stress, lack of control, and low self-esteem. A fight for Karen's life ensues.Written by
Jim Beaver <email@example.com>
Ranked #45 on Entertainment Weekly's "Top 50 Cult Films of All-Time" See more »
The same scene of Karen in the hospital is used for Karen in her bed at home when her mother calls. See more »
Where am I?
You're in the hospital, Dear.
You collapsed on stage.
From exhaustion and malnutrition.
You'll be here five more days.
Then home for plenty of rest.
You're going to be under Mom's constant care.
I'll cook for you.
She's gonna fatten you up. NO-MORE-DIETING.
No more laxatives.
[...] See more »
There are no ending credits, the film ends after shots of newspaper headlines detailing Karen Carpenter's death. See more »
A marvelous film made by Todd Haynes, a Brown University student at the time, later the director of "Poison" and the brilliant, hypnotic "Safe" (1995), "Superstar" details the rise and fall of Karen Carpenter entirely through an inspired formal devise: Carpenter, her brother Richard, family, and friends are all "portrayed" by Barbie dolls. The film is not merely about fame or anorexia (the disease of which Carpenter died), but conjures the suburban California of the 1970's, indeed the whole plastic experience of America and American pop culture (of which, of course, The Carpenters and Barbie dolls are most certainly a part). The sincere lite-rock of The Carpenters is juxtaposed with the emptiness and powerful sorrow of these "people"; the film isn't merely a satire--it's deeply touching in a way that many "human stories" fail to be. Upon its appearance, the film became a minor cause celebre in hip, arty New York circles; unfortunately, when Richard Carpenter, proprietor of The Carpenters' music (who doesn't exactly come across as a hero in the film), got wind of it, he called his lawyers. The fact of the matter is that Haynes and his producers never cleared the use of the music--the film was never intended to be shown for profit. Simply, though, there is no film without the music. The still-standing cease-and-desist order prevents the film from being distributed in any form; I saw a third- or fourth-generation copy on video, and it was still better than virtually anything I saw that year. "Superstar" is worth seeking out; it's genuinely (and I rarely use this word) inspiring.
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