Two Stars are Reborn in “A Star is Born” (V4.0): Film Review
I had the privilege of seeing a sneak preview of “A Star is Born” on Wednesday and I can attest that Lady Gaga and Bradley Cooper make beautiful music together — literally and figuratively — in the fourth version of the classic tale, which releases nationwide today. It is a stunning showcase for them both and is easily my choice for the best film of 2018 thus far.
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There is a scene toward the end of A Star is Born when Sam Elliot’s character states, “Music is essentially 12 notes between any octave. 12 notes and the octave repeats. It’s the same story told over and over, forever. All any artist can offer the world is how they see those twelve notes. That’s it.” It would be hard to imagine a more apt metaphor for this film, which is the fourth version of the classic love story. What we have here is a very familiar story reinterpreted by two artists who are at the top of their game and willing to reveal the most vulnerable parts of themselves.
The first time the classic love story of a successful male musician whose star is fading and a young female musician whose star is on a meteoric rise hit the big screen was in 1937. Janet Gaynor and Fredric March starred and William A. Wellman directed. It was remade in 1954 with Judy Garland and James Mason starring and legendary director George Cukor at the helm. A second remake came along in 1976, starring Barbra Streisand and Kris Kristofferson and directed by Frank Pierson. The first three versions were big box offices successes and netted a total of 17 Oscar nominations. The 1937 and 1954 versions were particularly critically acclaimed, with the 1976 one now considered more of a camp classic. Many critics are saying that this version is the best yet, but I cannot chime in on this particular debate. Despite being a self-proclaimed “film buff,” I have never seen the first three versions. I can only speak to the 2018 version, which is a fully realized masterpiece in its own right.
In the 2018 version, four-time Oscar nominee Bradley Cooper (best known for Silver Linings Playbook, American Hustle, and American Sniper) plays country-rock star Jackson Maine, a well-respected musician whose best days are behind him thanks to his increasing age and his self-destructive behavior. Pop music superstar Lady Gaga — in her first substantial film role — plays Ally, a working class singer songwriter with crippling insecurity. They meet by chance when Jackson, desperate for more alcohol after a show, stumbles into a bar where she is performing alongside a troupe of drag queens. In many — but most certainly not all — ways, the story plays out as you would expect it to. Yet it nevertheless manages to be a supremely entertaining and consistently surprising film.
The primary reason that A Star is Born works so well is an unwavering sense of authenticity that permeates every aspect of the film. Bradley Cooper — who in addition to starring served as director, co-producer, and co-writer — is bold in his choices throughout and rarely (if ever) missteps. Among his smartest choices was his insistence that the film’s many musical performances be filmed live and in real venues. The result is that the music scenes feel more like a concert documentary than a big screen musical. Unlike in many other musical films, the musical numbers are not joyous reprieves from the drama nor are they razzle dazzle meant to distract you from glaring flaws. Here, the musical numbers are integrated organically and highlight the film’s themes and display the characters’ souls.
The authenticity is not just present in the musical numbers, but also in the lived-in performances delivered by the uniformly excellent ensemble. Lady Gaga is absolutely heartbreaking and perfectly believable as Ally. Dropping all of the affectations inherent in her pop star persona, she fully embodies an aimless young woman resigned to the fact that she will never achieve her dream. When Jackson enters her life in the most unlikely of ways and takes a liking to her, her surprise and confusion is palpable. As Ally reluctantly falls in love with him, grows in confidence, and faces her own demons, Gaga skillfully evokes every nuance of the character. It is striking to see a woman known for her commanding and often bizarre stage performances to embody such a quiet, wide-eyed character and do so in such a convincing way. Needless to say, she is electrifying in the musical numbers. But that I expected. What I didn’t expect is the degree to which she proves herself such a gifted actress.
Admittedly, Gaga’s performance probably would not have turned out so well if it wasn’t for Cooper. And not just Cooper the director, producer, and co-writer, but also Cooper the actor. When he first came on to the scene as Jennifer Garner’s lovesick best friend on the television spy drama Alias, there was a little indication that he was poised to become a huge star. But then came some highly successful collaborations with revered directors like David O. Russell and Clint Eastwood and he is now one of the most popular and respected actors in the industry. In A Star is Born, he gives what is undoubtedly his strongest, most piercing, and most textured performance. He is compelling as a stage presence (and singer). He is utterly charming as a hopeless romantic. And he is utterly tragic as an alcoholic and drug addict. He and Gaga have wonderful chemistry together, but their performances are also brilliant independent of one another.
The supporting cast is uniformly excellent as well. The highlight is undoubtedly veteran character actor Sam Elliott as Jackson’s older half-brother and manager. The relationship between the two of them is one of the most dramatically rich aspects of the film. Foul-mouthed comic of yesteryear Andrew “Dice” Clay turns in a remarkably subdued performance as Ally’s fawning but suffocating father. Superstar comedian Dave Chapelle is remarkably effective in a rare dramatic turn as Jackson’s childhood friend who provides him some perspective. And Anthony Ramos and Rafi Gravon do solid work as Ally’s best friend and manager, respectively.
As an interesting side note, for being a film with a strong woman at its center, A Star is Born fails to pass the Bechdel Test (a method developed for evaluating how well women are portrayed in fiction). Ally is the only notable female character in the film. But this seems like a thoughtful creative choice as opposed to run-of-the-mill sexism. Inherent in the story being told is that the character of Ally has been profoundly shaped, for better and worse, by the men in her life. Her mother died at a young age and she is (presumably) an only child, leaving her to be raised by her father and his gruff yet big-hearted coworkers. Her best friend is a (presumably) gay man and a group of drag queens she used to work with. She has given up on her dream of musical stardom because of her rejection by male record executives and talent agents. She is discovered by a powerful man and then turned over to another powerful man, who shapes her entire career. The screenplay seems a bit more interested in Jackson’s backstory, which is brimming with tragedy, but Ally’s is equally compelling and has a lot to say about gender.
Mine is far from the only rave that A Star is Born has received. It was showered with praise during its premiere at the 75th Annual Venice Film Festival and the buzz has been deafening ever since. It seems like a good bet for Oscar nominations across the board. The sound and music categories are slam-dunks, while Gaga, Cooper, and Elliot seem like surefire acting nominees. The real question will be whether the Academy fully embraces the film and gives the film nominations for Best Picture, Best Director, and Best Adapted Screenplay. I bet it does, but a lot can happen between now and March 4th, 2019.
As for its commercial potential, the film seems poised to be a big hit. But it should be noted that the film is not a traditional crowd-pleaser. It is long (2 hours and 20 minutes). It is leisurely paced. It is brimming with tragedy and heartache. There are no action sequences, laugh-out-loud scenes, or titillating sex. Rather it is a spectacular reimagining of a classic story as a thoughtful character study. One that’s brought to life by two well-known A-listers doing the kind of against-type, soul-baring work that becomes permanently etched in Hollywood history.
Richard’s Rating: 5/5 stars
See other recent film reviews by this author: BlackKklansman and First Man
