A Star Is Born is a heartbreaking love story, a torch song for the dream of being a true artist and an intense reflection on the impact those who truly matter have on our lives. On one level this is a sweeping romance between two sexy leads living the dream of being rock stars and on another an indulgent weepy effortlessly evoking strong emotions. General audiences can go along, ship the relationship and cry with the main characters amidst their struggles. Director Bradley Cooper has structured the film to work on this level and work well but it is far more layered than that and I think part of its success has been due to audiences picking up on the nuances too and loving these aspects as well.
Our two star-crossed lovers are Ally (Lady Gag) a waitress and aspiring singer/songwriter and Jackson Maine (Bradley Cooper) an established star currently on the wane due to personal suffering more than anything else. Ally has never had anybody believe in her talent the way Jackson does and Jackson has maybe never had anybody love him so unconditionally as Ally does. There’s a lot of choices made by everybody involved in this production that has come together under Cooper’s drive. Ally and Jackson are artists, they show an interest in each other after they first hear each other sing, they fall in love with each other less as a meeting of the souls and more out of their shared love of their craft. The first night they spend together they barely touch each other, when Jackson tells her how he views his fame and she tells him part of a song she’s working on this is a much deeper connection and shared intimacy for them than sex ever could be. The sex comes, a well choreographed scene that seems to evoke both how sex can be with someone hung over and yet also be passionate and consuming. Yet Cooper knows how important that first night staying up and talking can be more important for the characters and more important for the narrative. After that first night we’re in all the way with Ally and Jack and the rhythm of the film, like it can be in a relationship, never quite gets back what it was like that first night.
Instead the narrative plays out with one star ascending and the other on the wane. The rest of the film isn’t quite as effective as those opening scenes, characters come and go a little bit for narrative purposes, an agent comes in to personify the division between Ally and Jack and later on in and remains a heartless villain but not without some reason. Yet the relationship never stops feeling real and drawing you in. Cooper and Lady Gaga have a nice relaxed chemistry that reads as authentic, their dialogue never feels manufactured and so many of their conversation scenes take place in domestic settings away from the spotlight. Gaga in particular is on point throughout, there’s been a lot of talk of how new she is to this game but she actually trained as an actor, has had roles in other films and television before this. As her first feature film lead role it fits that her performance is natural and not over affected, I do sincerely believe this is part of her talent but also part of the confidence and focus that Cooper has given her on set. His performance is very much across the same lines feeling real and raw but it is not his acting that stands out here.
This has to be one of the best looking and best sounding films of the year, expertly cut in the editing and meticulously crafted every other way. Small token shots have lights and smoke timed perfectly for maximum effect and yet in the moment reactions are captured. No matter how many takes it took, how many elements were in play or how close the cameras were to the performers’ faces everybody involved makes it appear everything is happening in the moment for the first time and maybe it is. Also it presents the physicality of the bubble of fame that comes around a person as they ascend. Walls of people gather round, fans, staff, groupies and with it a hum of noise. Leaving a concert early on Jackson is surrounded by noise and activity until he crawls into the back of his limo and is met with utter silence and loneliness. One lone driver upfront to make small talk to, who understands part of his job is to be quiet if that is what his employer wants. A high amount of camera work is up close and personal and on the move perfectly evoking the perspective of characters through small intimate scenes to moments at big public venues. The film articulates well the intoxicating elements of fame but also its emptiness and its precariousness. This is a phenomenally well crafted film with a maturity and confidence that is unique for a first time director and could have only come about through a real passion and drive. With this Bradley Cooper does not promise to become a great director – he is one.
The music such an important part of the story reflects the themes of the tale. The central duet ‘Shallow’ has lyrics that reflect an us against them mentality but also an individual about to take flight and reject her fears. The other songs are beautiful, Cooper in particular has a nice country ballad in ‘Maybe It’s Time.’ For a musical the soundscape is on par with any special effects laden film released this year.
Earlier versions of this film were set in a different time when getting help was maybe less discussed. Jackson seeks help in this film, I won’t spoil what happens but it offers a much deeper emotional connection to the ending as a result and maybe raises some conversations. A cutaway perfectly timed that closes the film will have most in tears. This is an old school Hollywood film in the greatest sense, it has big stars, big themes and delivers big emotions. It is one of the year’s best.
15 thoughts on “A STAR DIRECTOR AND A STAR LEADING LADY ARE BORN ANEW”
I have seen all three previous incarnations, so will no doubt get around to this on the TV, one day. At the moment, Judy Garland’s version remains my favourite. Everyone seems to love this new one though, that’s for sure.
Cheers mate, Pete.
Thanks Pete, I’m hoping to see the other ones soon. Particularly the 70s version as I grew up in the wake of that time and have a soft spot for films of that era. I particularly like James Mason and Judy Garland version but heard the ’37 one is the best so hope to see all three. Best wishes Pete.
Really sounds great. Anxious to see what Cooper does next as far as being a director.
Me too Don, will be interesting to see how it turns out. He mentioned on the Oscar’s red carpet he has something in mind but won’t discuss yet.
I’m looking forward to watching this. The performances, on-screen chemistry, direction and story sound great.
I’ll be interested to hear your thoughts, I keep going back to the idea that whatever you feel there’s a tremendous amount of craftsmanship in the film.
Hope you enjoy.
I enjoyed your description of why the film worked for you with regards to the direction and cinematography. In particular, the noise of fame and the silence representing loneliness. Not many of us can explain that kind of contrast. Bradley Cooper and Gaga could. And they did. Nice review, Lloyd.
Needs an edit but thank you Cindy, appreciate it. I have a few criticisms of the film but I admire the craftsmanship and have to admit I’m kind of swept away with the songs and the moments. I get it if others would say its overrated but I liked it. 🙂
I liked the first half then it lost steam when she became the pop star. It’s okay–you go right ahead and like it. 🙂
I’m kind of with you as well though. 🙂
I haven’t seen this one yet but it sounds like you really enjoyed it! We have the soundtrack and there are a lot of good songs, which must help the movie feel authentic.
I did see the 1937 one last year and it’s not bad, but it’s very dated.
Love those two songs from the trailer. I’ve heard the ’37 one might be the best so thank you for your thoughts Sean. I look forward to hearing what you think of the film.
Frederic March, wasnt he in The Best Years of Our Lives?