At one point in A Star is Born, Bobby Maine outlines his brother’s approach to music for the benefit of Ally.
According to Bobby, Jackson believes that all music can be broken down to “twelve notes between an octave.” By Jackson Maine’s logic, Bobby explains all musical expression is “those same twelve notes, played over and over again. All any artist can offer the world is how they see those twelve notes.” It is a strange moment, one that comes very close to self-awareness from writer and director Bradley Cooper, suggesting something very close to a mission statement for his directorial debut.
Ain’t playin’.
A Star is Born is the fourth major American motion picture with that name and that premise. There are countless other stories built around the same basic concept, which has itself been translated into various settings and contexts across the globe. The story of A Star is Born is familiar. An older man discovers a talented young woman and elevates her to stardom, while his own grip on celebrity slips away between his fingers. It is an archetypal Hollywood story, and perhaps a defining American fairytale. All Cooper can do is tell that familiar story in his own way.
There are certainly moments when A Star is Born seems to take this idea to heart. In terms of basic trappings and mechanics, A Star is Born gestures towards modernity, understanding that it needs to update its core premise in the way that each of its three forerunners did. There are any number of details within A Star is Born that position the film within the modern cultural context. This is a twenty-first century take on a familiar story, and it looks distinct enough from the earlier three iterations.
Has a nice sing to it.
However, there’s a recurring anxiety within A Star is Born, a sense of trepidation. In terms of style and sensibility, Cooper’s adaptation hews closest to the country-and-western infused seventies remake with Barbara Streisand and Kris Kristofferson, which is a canny choice; it is probably the least seen and the least iconic iteration of the story, making it ripe for reinvention. However, there is also a strong sense that A Star is Born is reluctant to cross the four decades that have passed since that particular iteration of the familiar story.
The result is a film that feels at odds with itself. A Star is Born is inherently a metafictional text, suggesting a rebirth of Lady Gaga from a pop star to a credible leading actor in a prestige piece. Gaga acquits herself well in the role, but A Star is Born feels uncertain and untrusting of her. Repeatedly, A Star is Born seems to refuse to let Gaga be Gaga, instead adhering to a very fixed and very nostalgic seventies ideal of “authenticity.” This is a film that ends with the assertion that a modern pop star can only find herself when using her voice to deliver an ageing rocker’s words.
Doesn’t quite hit all the right notes.
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Filed under: Non-Review Reviews | Tagged: a star is born, bradley cooper, film, non-review review, review, sam elliot | 2 Comments »
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