Daily News from New York, New York • 195

i -Hilailaus WGodystill psychoanalyzing self 'Stardust why does this Charlotte Ramplmg and Woody Allen in woman like him? early '60s and he. revealed his personal woes in "8Vfc," which began with a shot showing movie director GuldoAnselml, Fellini's alter ego, caught in an endless traffic jam. The claustrophobic opening sequences are not the only similarities between "Stardust Memories" and "8." At one point in the Allen actor Tony Roberts is asked if a certain scene was meant as a homage to Vincent Price. "No," responds Roberts while Allen nods in agreement "We stole it." So it is that Allen openly borrows not only Fellini's idea of psychoanalyzing himself on the screen, he uses Fellini's stream-of-conscious-ness technique. The movie reflects what is going on inside the troubled head of the Bates Allen character as he reluctantly attends a film weekend (a comical takeoff on the type of weekend dialogues with filmmakers hosted by critic Judith Crist) at a seaside resort where he is the star attraction.

As such, it mingles fantasy with reality; the hero's memories of a broken love affair and his childhood along with his current day-to-day difficulties in coping with being a celebrity. "Stardust Memories" is delightfully funny and deadly accurate when it comes to demonstrating the high price By KATHLEEN CARROLL STARDUST MEMORIES. Woody Allen, Charlotte Ram-pllng. Directed by Woody Allen. At the Baronet, Little Carnegie and Bay Cinema.

Running time: I hour, 31 minutes. Rated P3. Woody Allen sits in an ancient railroad car surrounded by silent, grim-faced passengers who look as miserable as the long-suffering commuters on the Long Island Rail Road. Just as in so many Ingmar Bergman films, one can hear a loudly ticking clock. Staring sadly.

out the window, Allen spots another railroad car parked on a nearby siding. It is full of elegantly dressed passengers drinking champagne and generally laughing it up. Allen asks: the conductor if he can change trains. He is refused and he spends the rest of the journey struggling to escape from the car. This opening scene from "Stardust Memories" offers an immediate clue as to how Woody Allen sees himself these days.

He is obviously feeling trapped, both in his creative and personal life. Like Sandy Bates, his alter ego in this kaleiscopic movie, he has had it with fame which he has discovered can be a real drag. Federico Fellini felt equally paralyzed by his own success in the celebrities like Allen must pay for their success. BatesAllen is besieged, bothered and bewildered by autograph hounds, script peddlers and celebrity hunters no matter where he goes. And they use every line in the book to try to impress him, beginning with such standard remarks as "People are always telling me we look alike." One autograph seeker, at least, has a more original approach.

"I was a Caesarean," he angrily tells Bates as if it were his fault. Then there is the inevitable groupie (played with deadpan determination by Amy Wright) who turns up, uninvited, in his hotel room, claiming that she has driven all the way from Bridgeport to "make it" with him. Later, Bates imagines himself being gunned down by yet another supposedly devoted fan, a fear that haunts many famous people who, just as Allen obviously does, feel exposed and vulnerable when facing their greedy public. Allen brilliantly captures the pretentious babble and the foolish arrogance of the trendies and media snobs who populate his Manhattan ghetto. He SeeSTARDUSTPage 25 rapaisyijii mwuu mumm uu HOPSCOTCH.

Walter Matthau, Glenda Jackson. Directed by Ronald Neame. At Loewt state 2, Loews New York Twin X. Running time: 1 hour, 42 minutes. Rated R.

t. v- "Double agents are colorless, drab people." Kendig, the wonderfully brazen hero of "Hopscotch," may be a disgruntled CIA agent, but, even on those many occasions when he's forced to go undercover and disguise his identity, he is simply not drab enough to blend into the- scenery as a good spy is supposed to do. Played with great zest by Matthau, Kendig has dropped out of the agency after being ordered to take a desk job and is writing a scorching book designed to expose the dirty deeds of every intelligence operation in the world. With Myerson (Ned Beatty) and his vodka-drinking pal from the KGB (Herbert Lorn) in hot pursuit, Kendig leads everyone on a merry chase from Austria where he has a warm reunion with his former mistress (Glenda Jackson), an ex-CIA employee now living the contented life of a wealthy widow to an island off the coast of Georgia. There he has the nerve to rent a summer cottage belonging to his boss (even after Myerson had made it perfectly clear to the real estate agent that he would tolerate "no children, no pets and no There, after baffling the natives with his phony Southern accent, Kendig completes the final chapter of his book and makes a carefully arranged getaway during an armed assault on the rented cottage led by a trigger-happy FBI agent who, to the dismay and anger of the CIA chief, threatens to shoot down his entire house.

Based on a best-selling novel by Brian Garfield and written by Garfield and Bryan Forbes, "Hopscotch" is an unusually stylish, refreshingly intelligent comedy, a well-aimed spoof of SeeHOPSCOTCHPage 25 The CIA, especially Myerson, its overly zealous chief (whose main regret in life is that he didn't "terminate" his wife 20 years ago), wants to put Miles Kendig (Walter Matthau) out of "the game" permanently. On the other hand, the head of the KGB for Western Europe is genuinely fond of him. In" fact, at a secret rendezvous where they are eagerly photographed by a man dressed in the kind of grey flannel suit generally favored by spies he yours or asks the KGB chief upon spotting the photographer), the Russian suggests that it would be nice if they could work together. "I'd make a useless double agent," Kendig admits. "You're right," concedes the Russian.

can Walter Matthau in "Hopscotch" this man hide anywhere? Midler hold brash in 'Madness' By ERNEST LEOGRANDE brashness, or for those who long for a touch of true restfulness in an evening's entertainment, even this 94-minute condensation of Midler may be more than they want to contend with. That's personal choice. On its own terms "Divine Madness" is a Grade A achievement, directed by Michael Ritchie, whose credits include "Smile," "Semi-Tough" and "The Bad News Bears." Midler is an actress as well as an entertainer, as she demonstrated in "The Rose," and it will be interesting to see where she goes with her next movie role, if she takes a next one. In "Divine Madness" she goes from boogie-woogie to rock-gospel, from tacky Sophie Tucker jokes to a wistfully funny character she has created, a sort of mystical bag lady. Her three female backup singers, the Harlettes, have been choreographed and costumed in ways that threaten to overcome Midler's solo presence, but obviously never do.

The seemingly inexhaustible Midler ends her screen performance standing on her head, a fitting symbol of the lengths she goes to in order to deliver the show she feels is expected of her. DIVINE MADNESS. Bette Midler. Directed by Michael Ritchie. At Criterion Center and Loews New York X.

Running time: 1 hour, minutes. Rated R. Bette Midler propels herself around the stage announcing she cannot help behaving in a manner she has "sworn to eschew," that is, broad and loose. She lets the audience know that she knows about Euripides and Milton but she also lets them know that she is smart enough never to let her intelligence tie lead weights to her act "Divine Madness," a filmed account of her stage show of that name, captures the essential Midler, a woman juggling sentiment with vulgarity, raising the images of Fanny Brice, Edith Piaf and Harpo Marx. It skims along, a smooth reproduction of the show, culled from the work of 10 cameras operating over three nights at the Pasadena Civic Auditorium.

The audience in the movie blends into the audience in the movie theater, unifying their applause. Nevertheless for the faint of ear, who blanch at Bette Midler: hotter than barbecue sauce 1.