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Take 5

Ah, classic Hollywood – no, not one of those gems of yesteryear, rather, I’m talking about their love of remakes. . . specifically, A Star Is Born – this being the fourth time it has been remade (following the 1937 original starring Janet Gaynor and Fredric March, you have the 1954 version with Judy Garland and James Mason, then the 1976 rock musical version featuring Barbra Streisand and Kris Kristofferson, and lastly, at least until this year, was the 2013 Bollywood effort led by Shraddha Kapoor and Aditya Roy Kapur). All sarcastic joking aside, despite this 2018 story having been reworked more times than the excuses students have tried to come up with when showing up to school without their homework, it is one of the main Academy Award hopefuls this awards season.

Co-written and directed by Bradley Cooper (his first directorial effort, his co-scribes are Eric Roth – Forrest Gump, and Will Fetters), Cooper himself plays the role of Jackson Maine, a country rocker with an affinity for pill-popping, and, if you notch that up a few more levels, you’ll find his addiction to alcohol.

In a disenchanted fugue state, he has lost all passion, that is, until he drunkenly stumbles into a drag bar and listens to the only female performer, Ally (Lady Gaga – frequently without makeup), belt out that classic French tune “La Vie En Rose”. . . her spirit, energy and rough-around-the-edges zest for life piquing the interest of the intoxicated, top end talent.

Like a fisherman trying to reel in a prized marlin, Maine’s persistency finally pays off, the working class woman flying out on the artist’s private jet to catch one of his shows. Struggling with her confidence (told so very many times before that she does not have the looks to make it in the industry – this is not something her father, played by Andrew Dice Clay, grapples with – constantly reminding people that he is supposedly more talented than Frank Sinatra), she is more than apprehensive when Maine invites her out on stage to co-sing a song she had sang for him the night before (while they chatted the night away).

Taking a chance, she becomes an overnight Youtube sensation, and with that, their tumultuous love is cemented in stone – a mentor/protégé bond with benefits. Soon, their peacefully public passion is interrupted by a manager knocking at the door of her possible fame. . . iconic star-maker Rez Gavron (Rafi Gavron) transforming her into the next pop sensation, a meteoric rise that soon outshines Maine’s stagnant if successful career. Can the pair truly hold onto love when jealousy is part of the equation? Will Maine’s addictive personality become an anchor, weighing the fledging personality back down? Will Ally’s newfound star-power incinerate everything in its vicinity?

With solid performances, Cooper channels his inner Jeff Bridges (of late), a man who seems to be getting more grizzled and worn every ticking second, while Lady Gaga’s struggles seem more than real – self doubt utterly evident. Together, you can see the love, and pain, in their connected eyes. Other quality performances come from Sam Elliott, playing Maine’s much older half-brother and manager Bobby (confrontation coming from his own thwarted musical aspirations and their father’s lack of parenting in the long distant past); Dave Chappelle as George “Noodles” Stone (Maine’s close friend and former musician); as well as the aforementioned Andrew Dice Clay.

If there is one complaint, though the performances are solid, in many ways, they lack depth (not enough meat on the bone). Like a masked persona worn by a celebrity to shield themselves from the public eye, the story never truly gets beneath it to the root of their beings, which is rather interesting for a two hour, sixteen minute movie. So integrated into the music and inner workings of the life of a musician, it lacks a bit in this arena.

Perhaps one of the most fascinating aspects of the film is its take on the music industry, in that, you start off as an individualized person with your own thoughts, ideas and plans for your craft, and, after being churned through the show business machine, you come out as the most generic pop figure – something the industry thinks will sell. . . a sad vision of cookie-cutter commercialism.

With all of the music having been performed live (at Coachella and other festivals – including before Kris Kristofferson at Glastonbury), it is no surprise that Gaga thrives, while Cooper impresses, the vocal and guitar training received makes him truly believable as a longtime musician (his guitar coach was Lukas Neslon, Willie’s son – Lukas’ band Promise of the Real were the band onstage with Cooper in the film). Another musical note worth mentioning, early on Gaga sings “Somewhere Over the Rainbow” while walking on a bricked road – an ode to one of Judy Garland’s most memorable performances, as well as a cheeky nod to the fact Garland also starred in this role back in the 1954 version.

A quality remake, A Star Is Born, despite a few missteps and flaws, is a worthwhile watch. Featuring competent directing from first timer Cooper, an excellent cast, and a classically inspired story, odds are, this one will be remade sooner than later (whether that is a joke or not, we will soon see). So, you won’t hear any garage band music here, get ensnared in this dramatic love story, it is a canorous experience.

A Star Is Born
December 8, 2018
by Nikolai Adams
7.4