(Note to editors: Why can't that be a word?) The dying king believes Yvaine can restore his throne to his living sons, although let's hope he doesn't try dividing the kingdom among them. In the other corner: The Learesque King Stormhold ( Peter O'Toole), with three living sons and four dead ones, who appear in black and white as Hamlet's fatheresque ghosts. In this corner: Three Macbethesque witches (Gaiman is a fan of Shakespeare), led by Lamia ( Michelle Pfeiffer), who believe Yvaine can restore their beauty. She possesses such secrets as eternal life, which are worth having, and so there's a rivalry for her powers. I think her name makes her a sort of vain Yvonne. Inside, he discovers that the star is, in fact, a beautiful girl with long blond tresses named Yvaine ( Claire Danes). Tristan's father was once able to bound through a gap in the wall, but Tristan has more trouble with an ancient guard and employs a magic candle which, by definition, works its magic. It is not very hard to get through the wall, which is an example of Stormhold's crumbling infrastructure.
He fears losing her to a rival, but one night they see a shooting star fall inside the wall, and he vows to retrieve it for her. Inside the wall, in a village conveniently named Wall, lives a plucky lad named Tristan ( Charlie Cox), who is in love with a lass named Victoria ( Sienna Miller). The plot, by Neil Gaiman, based on his novel: England is separated from the fantasy kingdom of Stormhold by a wall. I liked it, but " The Princess Bride" it's not. It's a film you enjoy in pieces, but the jigsaw never gets solved. Presumably, he wasn't willing to give up his orange hair quite yet.There are lots of other good things in the movie, but they play more like vaudeville acts than part of a coherent plot. It's just a shame that no one could find David Bowie something to do, given the film's title and era. Ewing persona four years before "Dallas." And look fast to see a flash of the young Nick Lowe playing guitar with a rival band. However, Larry Hagman has a choice, hammy part as a drawling entrepreneur, anticipating his J.R. Ringo Starr had a surprisingly meaty role in "That'll Be the Day," but Keith Moon fans won't find as much to cheer about in "Stardust." Moon has only a few lines, restrains his drumming to suit a pop style and mostly just cavorts in the background. Essex does a fine job singing it - implausibly frosty breath and all - but you'll watch this ridiculous indulgence assuming that it will be Maclaine's downfall. But worst of all is the "opera," which is presented as sort of an orchestral mass featuring a large female choir dressed in angelic gowns. Led by Edmunds' input, the tracks also sound anachronistic - the guitars have '70s-era effects and don't fit their fictional time period. This is especially true when the timeline hits 1966 or 1967, and the songwriting is still mired in innocent Beatlemania. Elsewhere, the original songs are humdrum, sluggish and willfully generic, and hardly seem capable of causing the sensation depicted in the film. Beyond the vintage hits used for background ambience, the most memorable tunes are merely "Need a Shot of Rhythm & Blues" and "Some Other Guy," two borrowed warhorses banged out during the Stray Cats' nightclub days. He was sympathetic as the troubled youth of "That'll Be the Day," but now he's just a caricature. It's all by the numbers, and rather poorly motivated. So here, he develops a superstar complex. In Maclaine's case, he's just given whatever fleeting behavior is necessary to move the story from point A to point B. People like Walker and Wilson were unique personalities whose quirks guided their destinies. The film's main problem is that Maclaine's character is so thinly written. Maclaine composes a grandiose rock opera dedicated to his mother, performs it once for a massive television audience and then goes to seed, sequestered in a marvelous Spanish castle. And thus begins his hairy, reclusive-enigma phase, as the source material turns from Paul McCartney to Scott Walker and Brian Wilson. So, Maclaine and his grumpily marginalized bandmates eventually part ways.
CAST OF STARDUST MOVIE MOVIE
Sound familiar?īut this is a movie determined to end badly, so it can't follow the Beatles myth for long.
The revised group becomes wildly successful after flying to America. The Cats gain a shrewd manager (Adam Faith, yet another real-life pop star), and he helps nudge out an early, unsuitable member. Sure, dreamily handsome singer Jim Maclaine (David Essex) leads a mop-topped, Merseybeat combo called the Stray Cats (whose members include music legends Dave Edmunds and Keith Moon). The first half of the film is pure pastiche.
Upon hearing the story opens in 1963, any savvy music fan can guess most of the plot points. A sequel to 1973's superior "That'll Be the Day," "Stardust" begins well but soon descends into a cliched tale of a rock star's rise and fall.
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