A Star Is Born marks the directorial debut of Bradley Cooper. He also plays the male lead, opposite the
female lead Lady Gaga – in her first leading role. This musical romantic drama film serves as the fourth remake of the 1937 film of
the same name (previously, there were remakes released in 1954 and 1976, while
Bollywood also had a 2013 remake).
The plot follows Jackson Maine
(Cooper), a famous country rock singer at the tail end of his career, who
stumbles upon a bar where a waitress/struggling singer-songwriter named Ally
(Gaga) coincidentally has a gig. Jackson
is moved and smitten by Ally’s performance, and he proceeds to introduce
himself to her. Soon, he is coaxing her
to perform one of her compositions during one of his concerts. She’s initially adamant, but eventually she
takes the spotlight with him. That
begins Ally’s entry into the music industry, and Jackson becomes her mentor –
and lover. But just as Ally’s career is
starting to skyrocket, and their relationship deepens, Jackson’s ongoing battle
with his inner demons may prove to be their undoing.
So, how did Cooper do with his
first time directing? Outstanding. He deserves to be nominated for Best Director
at the Oscars. His performance here is
also probably the best he has ever delivered in his acting career, and thus, he
deserves to be nominated as Best Actor as well. There are instances where the fakeness of his guitar playing is laughably obvious, but aside from this, he’s
immaculate. And if he’s actually the one
doing the singing full time – which looks like it – then whatever other flaws
in the musicianship aspect of his performance are made irrelevant. In addition, he maintains a compelling,
authentic chemistry with Lady Gaga – whose performance, by the way, is also amazing,
though it’s maybe primarily because her character is kind of tailor-made for
the kind of artist that she is (similar to the case of Eminem in 8 Mile).
Sam Elliot’s supporting performance is worth commending, too – should be
a shoo-in for an Oscar nomination. But,
yeah, Bradley Cooper – as director and actor – is the standout among all standouts of this film.
I’ve never seen any of the previous
incarnations of A Star Is Born. I can remember seeing some parts of the 1954
version during one of my cable-hopping sessions a long time ago, but I don’t
think I was able to watch it in start-to-finish sense. For all intents and purposes, the 2018 version
is the first time I had really witnessed its story. Thus, it really came across as fresh and resounding
to me. Cooper did a tremendous job in
constructing this elegant, poignant film.
The songs are excellent, especially
the main track, “Shallow.” The glorious scene where Ally finally gives in to Jackson’s request to sing it with him on stage gave me goosebumps all over my skin
and a rush of endorphins. Moreover, it’s
so affecting because it’s an earnest, aching existential anthem. There
have been many such songs through the years that profoundly imply man’s
yearnings for a God-sized satisfaction or rest that is currently unavailable
to him. And “Shallow” is the latest
addition to that bunch. (Warning: I want
to delve into this a little bit more. I
will try my best not to be spoiler-y, but I might still get a little bit.)
“Shallow” starts off with Jackson
saying to Ally:
Tell me somethin', girl
Are you happy in this modern world?
Or do you need more?
Is there somethin' else you're searchin' for?
Ally then replies:
Tell me something boy
Aren’t you tired tryin’ to fill that void?
Or do you need more?
Ain’t it hard keeping it so hardcore?
Meanwhile, this sentiment is
repeated a couple of times in the song:
I'm falling
In all the good times I find myself
Longing for change
And in the bad times I fear myself
The direct interpretation of this
song – as well as of similar songs, for that matter – isn’t explicitly about man’s
search for God, and the composers most likely don’t intend it to be such. Nevertheless, regardless of its immediate
context, the reality stands that there’s this unquenchable “void” – a “God-sized”
hole – inside every one of us, and aching for change – something more satisfying or tranquil – is a common feeling to
everyone since time immemorial. This is
a universal, dominant human sentiment, and it will, time and time again, seep
through man’s work, including the art he makes, whether he’s conscious of it or not. “Shallow” is simply another case of this.
The deeper theme of “Shallow” also
mirrors the deeper theme of the film as a whole. (This is where I’ll get most spoiler-y.) A Star
Is Born can be considered in a multitude of ways. It can be taken as a commentary on the music industry – how
artists are eventually packaged as products and how it’s not an ideally healthy
environment for those dealing with psychological and emotional tribulations (a
reason why many musical artists commit suicide). That is a valid analysis. But, again, at the heart of the matter is man’s
desire to fill up the void within him, and how he will tragically fail if he
doesn’t turn to God. As a rock star, Jackson Maine should have access to almost every source of happiness imaginable. Money. Talent. Fame. Fun. He has all the things that an average person typically dreams of having. And yet, he feels empty. In desperation to quench this emptiness, he’s tragically led to cling on to drugs and alcohol – things that provide the illusion of relief from the smothering emptiness, but actually leave the patron only feeling emptier and emptier in the long run. For me, the crux of
the film is whether Ally will prove to be Jackson’s salvation. And for a while, it seems to look like
it. But in the end, she’s not. And she can never be. Ally is finite. And Jackson has an infinite hole in his
heart. A God-sized hole can only be filled
by God. Only a Savior could truly save
Jackson from his demons.
We are all Jackson Maine. And that is why A Star Is Born is such a resonating film.
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