Timeless Love: A Star Is Born

A Star Is Born



directed by Bradley Cooper
starring Bradley Cooper, Lady Gaga, Sam Elliott, others

Recommended: Yes.

When I heard that actor/director Bradley Cooper was taking on "A Star Is Born" for yet another remake, I wondered ... why? There are already so many remakes of previous titles in Hollywood's pipeline, are there no original stories left?

A Star Is Born first came to the screen with Fredric March and Janet Gaynor back in 1937; most film fans know the Judy Garland musical vehicle with musical dud James Mason starring as an alcoholic actor. That version really captures the rhythm of Hollywood as well as everything that makes Judy Garland a star: the acting, the singing, the dancing; it also utilizes montages of black and white photos to advance the story, something not much seen at the time.

Of course people either revere or revile the 1976 version with luminous Barbra Streisand and sexy Kris Kristofferson. I happen to be in the revile camp -- I watched the movie again recently and it was just as bad as I remembered, though it had great cinematography and one good song in "Evergreen." Playing a rock star singer-songwriter, Kristofferson sang some truly abysmal numbers in that.

As I remembered the Garland/Mason film, the narrative seemed more a cautionary tale than a timeless love story. On my FB page, I asked "Why does A Star Is Born keep getting remade? Does a talented woman still need a hand up from a powerful man? And is a man still so threatened by a woman's success that he self-destructs?" Responders disputed this view, saying the previous versions were products of their time, and that it wasn't the woman's success that led to the man's demise, it was his own demons and he was on a downward spiral anyway. Hmmm. I can sort of see where there is a glimmer of self-sacrifice there, made in the name of love; as Maine decides that he will only drag his wife down, he takes the ultimate exit.

I also asked if smart women were still falling in love with hopeless drunks. Well, in the new version of A Star Is Born, apparently they are.

Spunky waitress, monster vocalist and sometime performer Ally, played soulfully by an amazing Lady Gaga, gets swept off her feet by one of the most charming, talented, and famous alcohol abusers on the scene, the rock artist Jackson Maine, played soulfully by Cooper with a roguish glint in his eye and channeling costar Sam Elliot's western basso elocution. They meet by accident, Jackson chasing a drink, and Jackson finds himself intrigued and inspired by Ally's talents and down-to-earth personality. The two begin a whirlwind romance, with Jackson pulling Ally onto the stage with him to sing an original song she'd only a cappella'd to him the night before.

There is no question that Ally is aware of his substance abuse issues, as well as his hearing problems, but his charm, talent and his focused interest in her elicits a bottomless well of love and loyalty. So with the audience roaring its approval of Ally's prodigious pipes (I knew Gaga could sing, and she is mindblowing here), she becomes a staple in Jackson's touring show before being plucked for solo pop stardom by an enterprising young talent manager. As in previous versions of ASIB, at the pinnacle of being recognized for her solo success, Jackson falls apart -- quite publicly. Unable to conquer his own demons, angered by and envious of Ally's success as a pop nymphet, which seems removed from the soulful singer-songwriter style she first evolved in her shows with him, Jackson can't recover his equilibrium. From there, it's a downward spiral for Jackson. And a real bummer for us viewers.

In some ways, this new version hews closely to the 1976 one in terms of Jackson being a burned out rock star, and in keeping his origins to the west (note that Streisand's former husband, Jon Peters, is a producer for both), and it has the look and pacing of many 1970s auteur flicks. There are some interesting updates; rather than meet in a dive Hollywood bar, Jackson meets Ally in a drag bar where she is allowed by the stage queens to perform "La Vie En Rose" in Edith Piaf eyebrows. Her backstory includes being a den mom to her father (a surprising turn by Andrew Dice Clay), and his crew of perhaps wiseguy-connected "drivers," as well as best friend to a young gay man played with charm by Anthony Ramos, who starred as Mars Blackmon in the reboot of Spike Lee's "She's Gotta Have It." Jackson's relationship with his brother and caretaker, played to perfection by the great Elliott, gives viewers a window into the rock star's sense of entitlement as well as his insecurities after abandonment by their parents.

What is refreshing and compelling about this ASIB is the naturalistic performances of Gaga and Cooper. While most movies rush the principle characters into bed after a few volleys of dialog, this version shows us the progression of their relationship, which includes a friendly ribbing, an opposites-attract dynamic, and a true bonding over the creation of music. We see how Jackson invests Ally with his own hopes and dreams, looking to reignite his own creative drive, and we see how Ally's fascination and regard for Jackson's artistry and his belief in her leads her to grab for both love and self-expression. We see them fall in love before our eyes, and it's quite remarkable and believable. There may be some viewers, however, who feel that these scenes go on way too long, that the leisurely pace is off-putting, that the dialog drags. I say: As viewers we have become so used to wiz-bang editing and narrative shortcuts that this slow unfolding of realtime affection has become rare.

In addition, the music for this outing is really, really good. Cooper holds his own, wrangling his guitar and singing tunes that already sound like rock anthems. And Gaga's vocal power and control are nothing short of astonishing. It's no wonder the soundtrack has leapt to the top of the Billboard charts in the weeks since its release. Together, as actors, they have some amazing scenes that will challenge your ability to keep a dry eye.

Ultimately, I think the reason for the remake of A Star Is Born is the evergreen nature of its narrative, which provide the two leads with incredibly juicy, showy acting roles. Cooper is great, and his casting of Gaga is inspired. It was also nice to see actors known more for comedy, including the aforementioned Clay, Dave Chappelle, and even Eddie Griffin, in supporting roles.

While previous versions of ASIB show us the trajectories of two distant stars crossing, this version is much more intimate and human.