My Mirror column:
The newest version ofA Star is Born updates the classic to our times — but its central narrative remains, more than ever, that of a man destroying himself.
It isn’t, of course, that there have been no shifts in the dynamic. The 1937Esther Blodgett first catches the 1937 Norman Maine’s eye based on her looks, not her talent. This despite the fact that their meeting is part of a scene that’s one of the only times we actually see Janet Gaynor’s Esther ‘act’: as a waitress at a big Hollywood party, she does slightly exaggerated comic imitations of various stars while serving hors d'oeuvres. But Fredric March’s Norman Maine begins a flirtation and decides she is star material without even having seen her do that little act.
By 1954, things are a little less shallow: James Mason’s version of Norman Maine starts flirting with Judy Garland’s Esther Blodgett after she has rescued him from a public drunken spectacle, and only pronounces on her talent after having heard her sing in the small band of which she is a part. In the 2018 film, real-life musical star Lady Gaga puts in an incandescent performance as Ally, a waitress who often performs among friends in a drag bar, but has never had the confidence to sing her own lyrics in public until literally dragged on stage by rockstar Jackson Maine (Cooper), who has secretly done an arrangement for a song she sang for him in private.
The newest version of
Remakes are fascinating things, so long as you aren’t profoundly attached to the original. The first two versions of A Star is Born (1937 and 1954) revealed the underbelly of the Hollywood studio system , while the 1976 film and the newest one are set in the music industry.
Other differences abound. The pioneering grandmother figure who provided the 1937 heroine both inspiration and monetary backing, for instance, vanished from the 1954 and 1976 films, only to be reworked in the 2018 version into the heroine’s proud father — a chauffeur who talks of how he could have been a bigger crooner than Frank Sinatra.
Other differences abound. The pioneering grandmother figure who provided the 1937 heroine both inspiration and monetary backing, for instance, vanished from the 1954 and 1976 films, only to be reworked in the 2018 version into the heroine’s proud father — a chauffeur who talks of how he could have been a bigger crooner than Frank Sinatra.
But characters and setting apart, the new film directed by Bradley Cooper (and starring Cooper and Lady Gaga ) retains the narrative core of the previous three iterations — a legendary male artiste with addiction issues discovers and helps promote a younger woman, only to find his career collapsing as hers begins to soar.
There’s something inescapably gendered about both parts of this premise. First, the supremely talented young woman who needs the older male star to tell her she’s good before she can even begin to see herself as an artist of any worth. And second, the man’s inability to deal with the fact of his romantic partner’s success, leading to jealousy and depression and growing substance abuse, ending in tragedy. Given that the first film was made over 80 years ago, it seems striking that this dual narrative — of female empowerment by a man and of the man’s consequent decline in the face of that empowerment — has stayed so substantially the same.
There’s something inescapably gendered about both parts of this premise. First, the supremely talented young woman who needs the older male star to tell her she’s good before she can even begin to see herself as an artist of any worth. And second, the man’s inability to deal with the fact of his romantic partner’s success, leading to jealousy and depression and growing substance abuse, ending in tragedy. Given that the first film was made over 80 years ago, it seems striking that this dual narrative — of female empowerment by a man and of the man’s consequent decline in the face of that empowerment — has stayed so substantially the same.
It isn’t, of course, that there have been no shifts in the dynamic. The 1937
By 1954, things are a little less shallow: James Mason’s version of Norman Maine starts flirting with Judy Garland’s Esther Blodgett after she has rescued him from a public drunken spectacle, and only pronounces on her talent after having heard her sing in the small band of which she is a part. In the 2018 film, real-life musical star Lady Gaga puts in an incandescent performance as Ally, a waitress who often performs among friends in a drag bar, but has never had the confidence to sing her own lyrics in public until literally dragged on stage by rockstar Jackson Maine (Cooper), who has secretly done an arrangement for a song she sang for him in private.
Many other parts of the romantic connection between the two protagonists have remained constant through all four films. For instance, the male star’s attraction to the younger heroine is expressed at least partly in assuring her that she is fine the way she is, and that her hair or face or nose doesn’t need to be altered in order to make her marketably attractive. That stress on Esther/Ally’s ‘naturalness’ is part of the vision of her character as ‘unspoilt’, a study in contrast to the artifice that is presented as the norm within the entertainment industry. Allied to this is the whirlwind romance, with the desire for a secret elopement and a quiet wedding coming up against the business interests that would benefit from making the star couple’s lives a media event, rather than letting them live out their fantasy of everyday domesticity.
But what seems to me particularly interesting about the heroine’s ‘unspoilt’ status is the way in which her freshness and her outsider status become ways in which the man seeks to rejuvenate himself. In the 1937 and 1954 films, that sense of rejuvenation is only personal, not professional: Norman Maine does not actually seek to recharge his actorly creativity by working with Esther. In 2018, though, Ally’s first appearance on stage is with Jack, and the video of their performance goes viral — making her instantly famous, but also giving him a new lease of life.
At many levels, Cooper’s 2018 hero is more sympathetic than the previous versions. Unlike in the 1937 and 1954 films, for example, Maine's drunken appearance at his partner’s award ceremony does not actually involve him snatching her microphone and taking over her acceptance speech to make a derisive or depressed one of his own. Male entitlement is not quite as vocal as it used to be. But the embarrassment Cooper’s character makes of himself is as bad, made worse by today's digital amplification. Also, his nasty jealous rage expresses itself in private, couched as accusations of selling out creatively.
It as if the more deeply intertwined their creative lives are, the more he actually draws artistic validation from her, the more sophisticated his competitive equation with her becomes. Somehow even the reconstructed man is still making it all about himself.
At many levels, Cooper’s 2018 hero is more sympathetic than the previous versions. Unlike in the 1937 and 1954 films, for example, Maine's drunken appearance at his partner’s award ceremony does not actually involve him snatching her microphone and taking over her acceptance speech to make a derisive or depressed one of his own. Male entitlement is not quite as vocal as it used to be. But the embarrassment Cooper’s character makes of himself is as bad, made worse by today's digital amplification. Also, his nasty jealous rage expresses itself in private, couched as accusations of selling out creatively.
It as if the more deeply intertwined their creative lives are, the more he actually draws artistic validation from her, the more sophisticated his competitive equation with her becomes. Somehow even the reconstructed man is still making it all about himself.
Published in Mumbai Mirror, 21 Oct 2018.