Allen’s presentation of Sandy perceiving the world as train cars - where some people are always having fun and while others are just riding the train - contains a view of the possibilities of the human experience. For example, the two trains with different passengers immediately present the experience of existence in a way that still fits with Allen’s cinema while diving into his auteur influences. Characters from the studio immediately discuss the arguments against the form of his film. In Stardust Memories, Sandy’s most recent film is what brings Bergman to mind and this occurs within the first few minutes of the film. Finding meaning in your work while life continues to move in a variety of directions is the center of Stardust. His perspective as a celebrity caught in a fork in his artistic career.
The film just cuts to a moment while ending another and doesn’t try to connect the two except in the fact that it’s Sandy’s experience. Presenting the possibility that we may be viewing things strictly by Sandy’s perspective. It works in presenting how things in Sandy’s head are not exclusive or compartmentalized but cut in and out of each other without warning. There are clear relationships between the past and its effects on present and future, and the dichotomy of an artist’s persona to their personal life. As much as Allen can be intellectual in his discourse on life, the optimist comes out in moments in his work - this being one of them. Stardust Memories goes into main character Sandy’s (Allen) search for meaning, the questioning of existence while the importance of love or connecting with another person are just as paramount.
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