‘A Star Is Born’: Palpable and often painful, this remake makes an old story new again
After re-seeing the 1976 version of “A Star Is Born” with Kris Kristofferson and Barbara Streisand – a film that barely worked – I walked into this one thinking, “How could this possibly be any better?” I mean, Kristofferson and Streisand were musicians by trade, and Bradley Cooper, while being a likable thespian with a pleasing mug, was going to croon a tune, strum guitar and direct for the first time too? I feared a vanity project or worse, but prejudgment is best saved for Big Macs, presidential tweets and bottom-shelf tequila, not art.
Lack of chemistry pulled the Kristofferson-Streisand project down to near camp. Nothing clicked between the two charismatic leads – not on stage, not at the piano, not in the studio and not in the bedroom. Who would ever buy a prog-rock, Iggy Pop kind of growler get jazzed up about a Broadway-tunes crooning chanteuse, or vice versa? Here, Cooper coupling with pop diva Lady Gaga nails it by coming at it straight from the heart as Jackson Maine, a country superstar in the mold of Keith Urban who can play a mean guitar. He also loves the bottle – perhaps more than his music – which is what leads him to a late-night watering hole after a podunk show. It’s there at a drag revue that Gaga’s Ally, adorned with Divine-etched eyebrows, belts out “La Vie en Rose” with such poise, power and control that Edith Piaf might just give up the mic. Jackson takes notice, they go to another bar, he drinks enough to make a small village comatose and she punches out an angry fan to defend his honor. One’s clearly on the way up, the other’s wallowing in self-loathing, and the two get each other completely.
Like any good romance, the night doesn’t end between the sheets, but in a parking lot with her hand strapped to a bag of frozen peas. And yes, they do sing at each other a bit – just a tiny, perfect bit. The next day Jackson’s on a plane and onto the next city and show, but he sends for Ally, who reluctantly hops a Learjet and even more reluctantly lets him drag her out on stage to sing that little parking lot ditty – a neat country crossover. From the 1932, ’37, ’54 and ’76 versions of the success-cum-tragedy melodrama, based originally on an article by Adela Rogers St. Johns and later retooled by Dorothy Parker (the first three entries were about Hollywood aspirations, not the music biz) you know how the story goes, yet Cooper, also holding a co-writer credit, floats the prospect of redemption and a different resolution. Continue reading
For What it's Worth 