'A Star Is Born' Is a Powerful Piece About the Heart of the Human Condition

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.