Premiere
Starstruck's premiere took place at the Hoyts Cinema Complex on George Street, Sydney on 7 April 1982.
(Photos by Norman Waller, from Australian Women's Weekly, 12 May 1982).
(Photos by Norman Waller, from Australian Women's Weekly, 12 May 1982).
Starstruck went on release to 30 screens across Australia on Thursday 8 April 1982. Its debut came at a time of almost unprecedented optimism for the Australian film industry, thanks in part to tax concessions that had encouraged private film investment. Amongst the other Australian films in cinemas at the time were Gallipoli, Heatwave, Puberty Blues, and Mad Max II.
According to Variety, Starstruck 'opened solidly', earning $AU 42,980 in its first week in Sydney, $AU 34,800 in Melbourne and $AU 24,000 in Brisbane. Business was expected to remain strong as the May school holidays began.
Though there is a perception that the film under-performed in Australia, it was quite a respectable box office achiever, with an Australian gross of $1,541,000. The problem was that its higher-than-average budget made recouping costs all the more difficult, as did the fact that as a youth-oriented film, many members of its target audience paid a concession price for their tickets. "It was a hit, but not the huge hit that we hoped it would be," concluded producer David Elfick.
Multiple sources reported that Gillian Armstrong and Stephen MacLean initially hoped to collaborate a second time, either on a second rock musical or an adaptation of American actress Anne Baxter's autobiography, Intermission. Unfortunately, nothing ever came of these plans, and Armstrong eventually chose the very different Mrs Soffel (1984) as her follow-up to Starstruck.
According to Variety, Starstruck 'opened solidly', earning $AU 42,980 in its first week in Sydney, $AU 34,800 in Melbourne and $AU 24,000 in Brisbane. Business was expected to remain strong as the May school holidays began.
Though there is a perception that the film under-performed in Australia, it was quite a respectable box office achiever, with an Australian gross of $1,541,000. The problem was that its higher-than-average budget made recouping costs all the more difficult, as did the fact that as a youth-oriented film, many members of its target audience paid a concession price for their tickets. "It was a hit, but not the huge hit that we hoped it would be," concluded producer David Elfick.
Multiple sources reported that Gillian Armstrong and Stephen MacLean initially hoped to collaborate a second time, either on a second rock musical or an adaptation of American actress Anne Baxter's autobiography, Intermission. Unfortunately, nothing ever came of these plans, and Armstrong eventually chose the very different Mrs Soffel (1984) as her follow-up to Starstruck.
Australian Trailer
Marketing and Promotion
Jo Kennedy was heavily promoted as a potential major star, and worked with fashion designer Linda Jackson on creating a special wardrobe to wear exclusively while promoting the film. Jackson had set up the fashion label Flamingo Park in 1972 with friend and fellow designer Jenny Kee. Together, the pair had evolved a unique - and uniquely Australian - look, characterised by bright colours and vivid patterns, often inspired by Australia's flora and fauna and its Indigenous art. The Sydney Morning Herald's profile was typical of the promotion that surrounded Jo at the time (read some others at the dedicated Jo Kennedy page):
"Now that Jo Kennedy is a star, it's important that she's presented that way.
Before she was given the role of Jacki in Gillian Armstrong's fantasy musical, Starstruck, she could only afford to wear hand-me-downs and op shop relics. At her audition she was wearing a great big old blue trench coat, the only thing to keep out the Melbourne cold.
Now she's driven around in limousines and wears a range of Linda Jackson garments designed specifically to suit her personality. Jo calls them her "inside out" clothes.
The theme is typical Linda Jackson - Australian ethnic - with an animalistic tribal flavour. A far cry from the razzle dazzle of Starstruck glamour, Jo's "inside out" range is relaxed and, most important, totally individual.
It's a promotional image for Jo, the "first Australian musical film star". All her TV interviews and public appearances are made in the same set of garments. There are about 12 pieces in the range but they're all designed to be co-ordinated into countless outfits.
Jo would like to see the Australian image catch on to become a fashion trend.
"I'm not interested in money or being all that famous," said Jo. "The best thing about the whole publicity bit has been working with Linda on the range."
Jo's predictions about the international appeal of the look proved correct - by 1984, Flamingo Park was being marketed in America by Olivia Newton-John's Koala Blue store.
Starstruck was also given a very distinctive visual theme in Australian promotions, highly reminiscent not only by the palette of Flamingo Park and its ilk but by the quirky style of New Wave bands such as Split Enz. The man responsible for the look was Sydney artist Paul Worsted, who had also produced colourful posters and album covers for many bands, and helped define the signature aesthetic of Starstruck soundtrack contributors Mental As Anything. Along with Mental as Anything band member Reg Mombassa, he was one of the earliest artists to work for the iconic Australian design label, Mambo. Worsted was also responsible for the Starstruck soundtrack album's innovative gatefold sleeve, as well as the film's title sequence.
"Now that Jo Kennedy is a star, it's important that she's presented that way.
Before she was given the role of Jacki in Gillian Armstrong's fantasy musical, Starstruck, she could only afford to wear hand-me-downs and op shop relics. At her audition she was wearing a great big old blue trench coat, the only thing to keep out the Melbourne cold.
Now she's driven around in limousines and wears a range of Linda Jackson garments designed specifically to suit her personality. Jo calls them her "inside out" clothes.
The theme is typical Linda Jackson - Australian ethnic - with an animalistic tribal flavour. A far cry from the razzle dazzle of Starstruck glamour, Jo's "inside out" range is relaxed and, most important, totally individual.
It's a promotional image for Jo, the "first Australian musical film star". All her TV interviews and public appearances are made in the same set of garments. There are about 12 pieces in the range but they're all designed to be co-ordinated into countless outfits.
Jo would like to see the Australian image catch on to become a fashion trend.
"I'm not interested in money or being all that famous," said Jo. "The best thing about the whole publicity bit has been working with Linda on the range."
Jo's predictions about the international appeal of the look proved correct - by 1984, Flamingo Park was being marketed in America by Olivia Newton-John's Koala Blue store.
Starstruck was also given a very distinctive visual theme in Australian promotions, highly reminiscent not only by the palette of Flamingo Park and its ilk but by the quirky style of New Wave bands such as Split Enz. The man responsible for the look was Sydney artist Paul Worsted, who had also produced colourful posters and album covers for many bands, and helped define the signature aesthetic of Starstruck soundtrack contributors Mental As Anything. Along with Mental as Anything band member Reg Mombassa, he was one of the earliest artists to work for the iconic Australian design label, Mambo. Worsted was also responsible for the Starstruck soundtrack album's innovative gatefold sleeve, as well as the film's title sequence.
Australian Memorabilia
Awards
Starstruck received multiple nominations in the 1982 AFI Awards (now known as the AACTAs):
In a year that was dominated by the blockbusters The Man From Snowy River and Mad Max II, the film found it hard to compete. In America, Starstruck made an appearance at a number of festivals, including the Seattle International Film Festival, Cleveland International Film Festival, and the Chicago International Film Festival. It was also exhibited out of competition at the Cannes Film Festival.
- Best Original Music Score: Phil Judd, Bill Miller, Mark Moffatt and Dennis James
- Best Production Design: Brian Thomson
- Best Costume Design: Luciana Arrighi and Terry Banks
In a year that was dominated by the blockbusters The Man From Snowy River and Mad Max II, the film found it hard to compete. In America, Starstruck made an appearance at a number of festivals, including the Seattle International Film Festival, Cleveland International Film Festival, and the Chicago International Film Festival. It was also exhibited out of competition at the Cannes Film Festival.
American Release
Starstruck received a sneak preview in Los Angeles on March 24, 1982, but it was not until August that year that an American distribution deal was announced. The film was picked up by the New York-based Cinecom International Films, a newly formed distribution company that hoped to bring the best international and independent cinema to American screens.
Starstruck was given a very different visual theme for its American release, with the bright day-glo colours of the Australian marketing campaign replaced by a softer palette of pale blues and pinks, and the title itself adjusted to Star Struck. The version seen in America also differed slightly from the Australian version. Not only was the opening number 'Starstruck' cut, but some versions also omitted the song 'It's Not Enough'.
Several reviewers commented on the difficulty of marketing the film. Was it a bouncy musical for the same teens who had loved Grease, a more mature picture for the adults who enjoyed Saturday Night Fever, or a quirky oddity for The Rocky Horror Picture Show crowd? Ultimately, Cinecom would try promoting it to all three audiences at different times, with more success in some cases than others. "We want to avoid the public misinterpreting Star Struck as a film for teenagers," distributor Ira Deutchman told Variety. "You have to target the primary audience for the film and reach the adults first."
The film was initially released at New York's Sutton Theatre on 10 November 1982, where it performed very well and played for six weeks. It was also well received in its West Coast debut at the Fine Art Theatre in Los Angeles in January 1983, but the film's takings were more uneven in its limited release on the mainstream regional market in later months.
A better strategy was found when the film was adopted as a midnight special at New York's Embassy Theatre towards the end of the year. Limited suburban engagements continued to take place, but it was not until the film appeared on cable television that many American viewers first became aware of Starstruck.
Starstruck was given a very different visual theme for its American release, with the bright day-glo colours of the Australian marketing campaign replaced by a softer palette of pale blues and pinks, and the title itself adjusted to Star Struck. The version seen in America also differed slightly from the Australian version. Not only was the opening number 'Starstruck' cut, but some versions also omitted the song 'It's Not Enough'.
Several reviewers commented on the difficulty of marketing the film. Was it a bouncy musical for the same teens who had loved Grease, a more mature picture for the adults who enjoyed Saturday Night Fever, or a quirky oddity for The Rocky Horror Picture Show crowd? Ultimately, Cinecom would try promoting it to all three audiences at different times, with more success in some cases than others. "We want to avoid the public misinterpreting Star Struck as a film for teenagers," distributor Ira Deutchman told Variety. "You have to target the primary audience for the film and reach the adults first."
The film was initially released at New York's Sutton Theatre on 10 November 1982, where it performed very well and played for six weeks. It was also well received in its West Coast debut at the Fine Art Theatre in Los Angeles in January 1983, but the film's takings were more uneven in its limited release on the mainstream regional market in later months.
A better strategy was found when the film was adopted as a midnight special at New York's Embassy Theatre towards the end of the year. Limited suburban engagements continued to take place, but it was not until the film appeared on cable television that many American viewers first became aware of Starstruck.
American Memorabilia
American Trailer
Home Video
Embassy Home Entertainment announced that they had purchased American home video release rights to Starstruck in mid 1984. The same company was responsible for the laser disc release which remained the only way Starstruck could be obtained for many years until its release on DVD in late 2005, by Blue Underground in America and Umbrella Entertainment in Australia.
Though the DVD is now out of print, it is still readily available from online sellers. It is also available for free to North American viewers via the streaming services Tubi, Pluto, and (via a library card) Kanopy. It is also available to buy or rent from Amazon.com.
In 2015, a new remastered digital print of the film was produced by the Australian National Film and Sound Archive as part of its NFSA Restores program.
Though the DVD is now out of print, it is still readily available from online sellers. It is also available for free to North American viewers via the streaming services Tubi, Pluto, and (via a library card) Kanopy. It is also available to buy or rent from Amazon.com.
In 2015, a new remastered digital print of the film was produced by the Australian National Film and Sound Archive as part of its NFSA Restores program.
UK ReleaseIn the UK, a different marketing approach was taken to both Australia and America, with a campaign that used sophisticated graphics in place of cast photographs, and emphasised the film's kinship to the British-made classic Beatles film, A Hard Day's Night.
Though Starstruck was seen in a number of European countries, it was hampered by the language barrier that has often made screen musicals a harder sell in non-English speaking markets. |
Promotional Photos
A series of standard promotional photos were distributed to newspapers and other publications in Australia and America, to publicise the release of Starstruck. I believe there were eleven of these in total (the one not shown here features Gillian Armstrong in the process of directing the film). Others were produced to promote the soundtrack.