Lady Gaga, not Cooper’s debut film, is the real Star here
What do the years 1937, 1954, and 1976 have in common with 2018? They, too, all had versions of the film A Star is Born playing in cinemas. Whether or not the movie-going public really needs a third remake of the 1937 original is up for debate (the ’54 and ’76 versions famously starred Judy Garland and Barbara Streisand, respectively), but actor Bradley Cooper apparently felt strongly that 2018 is the right moment for another try. He makes his writing and directing debut here, directing himself in a modern version of the classic story that, while showcasing the incredible talent of his co-star Lady Gaga, brings nothing fresh or extraordinary to the well-worn tale.
For those who’ve never seen any of the earlier versions, a quick plot summary is in order. Though the details vary, all center on the rise of a young female talent, while her love interest, an already established star, sees his fame fade, thanks to self-destructive behavior and jealousy. In Cooper’s new version, which he co-wrote with Oscar winner Eric Roth (Forrest Gump) and Will Fetters, Cooper plays the male lead, a huge alt-rock star whom Cooper reportedly modeled on Eddie Vedder. In a nod to leading man James Mason in the ’54 version, Cooper’s character is named Jackson Maine; Mason had portrayed matinee idol Norman Maine.
Lady Gaga, in her first starring role, plays waitress/singer Ally, who, thanks to Jackson’s help, becomes a huge one-name phenom à la Cher or Madonna. Jackson first meets Ally in a drag bar he stumbles into for a nightcap; he’s mesmerized by Ally’s performance of “La Vie en Rose.” He takes an interest in her, and, in short order, she’s joining him on stage in huge venues with sell-out crowds, recording albums, performing solo, sitting for glamorous photo shoots, landing Saturday Night Live, and winning Grammys. Jackson, meanwhile, a fierce, often morose alcoholic, slides deeper into his addiction, sees his career slip (a contrasting scene where Jackson takes a gig playing a pharmaceutical conference is appropriately depressing), and grows resentful of Ally’s success.
The story, then, is all too familiar, and, unfortunately, Cooper brings nothing new to it. If anything, the narrative is tedious and repetitive to a fault. The bulk of the film involves Jackson getting drunk out of his mind, being super mean to Ally, sobering up and apologizing, and having her forgive him. This pattern happens ad nauseam, and the audience soon becomes thankful for the musical numbers that break up this tiresome routine. Lady Gaga sounds amazing, and if you’re a fan of hers, you still might want to check out the film just to see her command the stage. Her work is brilliant here, and she proves herself a decent actress as well, especially considering she has to constantly come up with new ways to look upset.
Cooper is a bit more one note, and he mumbles most of his lines in such a low register that hearing him often becomes difficult; his singing is serviceable, but certainly nothing special. He’s said in interviews that he tried to mimic deep-voiced actor Sam Elliott in his portrayal of Jackson, so having Elliott himself play Jackson’s older half-brother Bobby seems like an odd choice; we see the real thing, and then realize what a poor imitation Cooper is doing. Elliott, in fact, is the best thing in the movie, aside from Gaga’s singing, and the most moving scene in the entire film involves Bobby alone on screen, silently driving, and inscrutably thinking about his troubled brother. It’s the sort of quiet but powerful moment that the movie could have used more of. Most of the scenes between Gaga and Cooper are indistinguishable from each other: the pair are alternately in love with and in awe of each other, or angry and hostile. While their chemistry builds sweetly initially — his backstage flirtation with her after he first hears her sing at the drag bar is charming — their central conflict takes too long to develop, and, by the time it does, we don’t care much, especially when they keep repeating the same patterns.
The movie wants us to believe the couple’s connection and love is so powerful that Ally would stay with Jackson through some of the more horrific things he does and says. These include some particularly cruel remarks he makes to her while she’s in the bath, in one of the film’s most hard to watch scenes, and an unfortunate and painfully embarrassing incident at the Grammys, as Ally accepts the Best New Artist award. While Ally’s unwavering devotion to Jackson can be perceived as a study in loving commitment, it makes for an often static narrative, since the actions of each character simply continue to recur. The movie’s ending, however, almost redeems the monotony that’s preceded it; it’s somewhat unexpected, and does at last allow the audience an emotional, empathetic relationship with the characters.
If you must see this movie, do so not for the stellar, original story and amazing acting — though Lady Gaga more than holds her own here — but for Lady Gaga’s incredible, soulful performances, and some fine music. Jackson’s fictional band is helmed by Lukas Nelson (Willie’s son), who also wrote all the songs. If you’re a fan of his, that’s reason enough to see this otherwise disappointing picture.
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A Star is Born opens today at Bay Area theaters.
