This is the fourth big screen iteration of this venerable story, which made me sigh with apathy when I heard it had been greenlit. It’s not that the story is unworthy; each version has been popular and has won, or been nominated for, Academy Awards. But why, every twenty to forty years, do we need another one? Then I saw the preview. I have to admit that the first preview I saw for this movie is one of the best previews I’ve ever witnessed, and the bottom line is that it made me want to see the movie. The very next day. That’s what previews are supposed to do, and this one succeeded. Eventually I saw the film, and I’m glad that I did; it’s very good.
Bradley Cooper’s film features Bradley Cooper as a popular country-ish singer who drinks too much and seems rather tired of life. Then he meets Ally (Lady Gaga), a singer-songwriter unable to make any headway in the music industry. He is smitten at once, persuades her to join him onstage to sing one of her songs, and share in the glory of performing. Her career shoots skyward; his seems to carry on at about the same level until he embarrasses her (and himself) at the Grammys. Rehab helps, but by then the die is cast, and the movie lurches to its foregone, tragic conclusion.
The first half is excellent, and the sequence where Ally first belts out her song “Shallow” on stage with Jack (Cooper) is absolute magic. Director Cooper (his first time helming!) expertly charts how a narrow-minded record producer (Rafi Gavron) homogenizes Ally’s music while sexing her up for video stardom, essentially robbing her of everything that charmed Jack in the first place. Where the film falls short is detailing Jack’s downfall. Part of it ties to his relationship with his much older brother (Sam Elliott); when they fight and split up Jack drinks more than ever. But to my mind not enough was shown to push Jack into the action he finally takes, especially when he has this hot, dynamic, loving woman waiting for him.
The second half is depressing (for both characters) and the music is worse as well (which is intentional). Despite this, it is easy to recommend the movie because the acting and singing is top-notch. Cooper is tremendous; Lady Gaga is a revelation. The script is wonderfully detailed and natural, although there is far too much swearing. A tighter second half would help, but that first half is superb. The 1937 version with Fredric March and Janet Gaynor is probably still the best version of this story, and the 1954 version (with Judy Garland and James Mason) the most heartbreaking, but this one is pretty close behind them. ☆ ☆ ☆. 28 December 2018.