Superstar: The Karen Carpenter Story

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Superstar: The Karen Carpenter Story
Superstar The Karen Carpenter Story cover.jpg
Cover
Directed by Todd Haynes
Produced by Todd Haynes
Cynthia Schneider
Written by Todd Haynes
Cynthia Schneider
Starring Merrill Gruver
Michael Edwards
Narrated by Gwen Kraus
Bruce Tuthill
Music by The Carpenters
Cinematography Barry Ellsworth
Edited by Todd Haynes
Production
company
Iced Tea Productions
Distributed by American International Video Search, Inc.
Release date
  • April 30, 1988 (1988-04-30)
Running time
43 minutes
Country United States
Language English

Superstar: The Karen Carpenter Story is a 1987 American short biographical film portraying the last 17 years of singer Karen Carpenter's life. Directed by Todd Haynes, the film uses Barbie dolls as actors, as well as documentary and artistic footage. Superstar was co-written and co-produced by Haynes and Cynthia Schneider, with an unauthorized soundtrack consisting mostly of the hit songs of The Carpenters.

Superstar was filmed over a ten day period at Bard College in the summer of 1985. Barry Ellsworth collaborated on the film and was the cinematographer for the Barbie themed interior segments of the film.

The film was withdrawn from circulation in 1990 after Haynes lost a copyright infringement lawsuit filed by Karen's brother and musical collaborator, Richard Carpenter.[1] The film's title is derived from The Carpenters' 1971 hit, "Superstar".

Over the years Superstar has developed into a cult film, and is included in Entertainment Weekly's 2003 list of top 50 cult movies.[2]

Plot[edit]

The film follows Karen Carpenter from the time of her "discovery" in 1966, her quick rise to stardom, to her untimely death by cardiac arrest (secondary to anorexia nervosa) in 1983. It begins in Karen's parent's home in Downey, California on February 4, 1983, and the viewer follows through the eyes of Karen's mother, Agnes Carpenter, as she discovers her body in a closet. The film then returns by flashback to 1966, and touches on major points in Karen's life including:

  • The duo's signing with the A&M record label
  • Their initial success and subsequent decline
  • Karen's development of anorexia nervosa
  • Her 14-month marriage to Thomas Burris
  • Karen's on-stage collapse in Las Vegas
  • Her search for treatment for her anorexia nervosa
  • The attempt to restart her career
  • A claim that she gradually developed a reliance on syrup of ipecac (a product that, unbeknownst to her, destroyed her heart and led to her cardiac arrest).

An unusual facet of the film was that, instead of actors, almost all of the parts were played by modified Barbie dolls. In particular, Haynes detailed Karen's worsening anorexia by subtly whittling away at the face and arms of the "Karen" Barbie doll. Sets were created properly scaled to the dolls, including locales such as the Carpenter home in Downey, Karen's apartment in Century City, restaurants, and recording studios. Details such as labels on wine bottles and Ex-Lax boxes were shrunk in proportion. Interspersed with the story were documentary-style segments detailing both the times in which Karen Carpenter lived and anorexia. These segments were seen as melodramatic parodies of the documentary genre. The underlying and unauthorized soundtrack included many popular hits of the day, including duets such as Elton John and Kiki Dee and Captain & Tennille, and songs by Gilbert O'Sullivan, Leon Russell, as well as the bulk of The Carpenters hits themselves.

The tone of the film was sympathetic to Karen, especially in regards to her anorexia, but much of that sympathy was gained by making the other characters unsympathetic. Karen's parents, Harold and Agnes, were portrayed as overly controlling, attempting to keep Karen living at home even after she turned twenty-five. Agnes was portrayed as unaware of the extent of Karen's problem with anorexia. The duo's initial meeting with A&M Records owner Herb Alpert was inter-cut with stock footage of Vietnam War scenes. Richard Carpenter was portrayed as a rampant perfectionist who frequently sided with his parents against Karen, and he was also depicted as being more concerned with his and Karen's careers than with Karen's health. This culminated in a scene where Richard berates a fatigued and obviously ill Karen for not meeting business demands, yelling at her, "What are you trying to do? Ruin both of our careers?", causing her to break down in tears. Haynes then insinuated, during a fight between Richard and Karen over her renewed use of Ex-Lax, that Richard had a secret that he didn't want his parents to know about.

Haynes' dark treatment of the film included using black captions which often blend in with the scene, rendering them unreadable. Haynes also worked spanking, a common theme in his works, into the film with a repeated segment featuring a black-and-white overhead view of someone administering an over-the-knee spanking to the bare-bottomed adult Barbie Karen. The meaning of this segment is never discussed, leaving it to the viewer's imagination.

Cast[edit]

Songs[edit]

Reception and copyright lawsuit[edit]

Upon its release, the film was a minor art hit, and was shown at several film festivals.[3] However, shortly thereafter, Richard Carpenter viewed the film and became irate with its portrayal of his family and himself. It later emerged that Haynes never obtained music licensing from either Richard or the Carpenters' label, A&M Records, for the numerous songs used in the film. Richard Carpenter sued Haynes for failing to obtain the clearances and won. As a result of the lawsuit, all copies of the film were to have been recalled and destroyed.[4][not in citation given] The Museum of Modern Art retains a copy of this film, but in an agreement with The Carpenter Estate, they do not exhibit it.[5] Nevertheless, bootleg copies remain in circulation[6][7] and it can still be seen on YouTube.

In his analysis of Superstar's bootleg existence, Lucas Hilderbrand, a professor of film studies at University of California, Irvine, stated: "Analogue reproduction of the text rather than destroying the original's aura, actually reconstructs it. Materially the fallout of the image and sound mark each successive copy as an illicit object, a forbidden pleasure watched and shared and loved to exhaustion."[8]

References[edit]

  1. ^ Holden, Stephen (November 8, 1998). "FILM; Focusing on Glam Rock's Blurring of Identity". New York Times. 
  2. ^ Dirks, Tim. "Top 50 Cult Movies". Entertainment Weekly/AMC. Retrieved January 1, 2013. 
  3. ^ http://www.joblo.com/movie-news/where-on-the-shelf-issuperstar-the-karen-carpenter-story
  4. ^ James, Caryn (April 14, 1991). "FILM VIEW: Politics Nurtures 'Poison'". The New York Times. Retrieved April 17, 2016. 
  5. ^ http://www.joblo.com/movie-news/where-on-the-shelf-issuperstar-the-karen-carpenter-story
  6. ^ Turner, Kyle (November 24, 2015). "The Films of Todd Haynes: Performance, Desire, and Identity". The Film Stage. Retrieved March 6, 2016. 
  7. ^ Matheson, Whitney (February 4, 2013). "Today in history: Karen Carpenter died 30 years ago". USA Today. Retrieved March 6, 2016. 
  8. ^ Hilderbrand, Lucas (2004). "Grainy Days and Mondays: Superstar and Bootleg Aesthetics". Camera Obscura. Duke University Press. 19 (3): 56–91. 

External links[edit]