At the moment I’m checking out films about models and photographers. It’s part of my research for the short I’m developing.
Denys Arcand’s film Stardom (2000) is a high-pace satire. Tina Menzhal (Jessica Paré) is plucked from small-town Canadian obscurity and is launched into a whirlwind of money, fame and failed romances. Starting with cable access station footage, the film makers show Tina through the lenses of the media circus that gathers around her. There’s the fashion reporter with her video camera and aggressive style; there’s the genuine artist and camera nerd photographer who follows her, shooting black and white 16mm with an Aaton on his shoulder; there are news reports and chat shows. What we don’t see is Tina on her own terms. She is subject to constant attention, the invasion of her privacy, and endless demands. Everyone wants a piece of her. Men (including great turns from Dan Aykroyd and Frank Langhella) ruin themselves on what they think is her behalf, without ever figuring her out.
The event that ends the hysteria and concludes the film leaves a little to be desired. Awarding a prize to a ruggedly handsome doctor who has won a marathon, Tina falls in love. The notion that the key to happiness is a bun in the oven given to her by a stand-up guy from her hometown is the kind of simple and regressive formulation that the film has been skewering for the last hour and a half. But up until that point it’s been such a hell of a ride that you’re willing to forgive Stardom its mis-step.
