The Moon Is In The Fourth Hours-Jupiter Aligns With Mars- The Conundrum Of The Western Literary Canon-What Goes Up Must Come Down-Lady Gaga And Bradley Copper’s Reincarnation of “A Star Is Born” (2018)-A Film Review

The Moon Is In The Fourth Hours-Jupiter Aligns With Mars- The Conundrum Of The Western Literary Canon-What Goes Up Must Come Down-Lady Gaga And Bradley Copper’s Reincarnation of “A Star Is Born” (2018)-A Film Review

DVD Review

By Sarah Lemoyne

A Star Is Born, starring Lady Gaga, Bradley Cooper, Sam Elliott, 2018

Yes, today the moon is certainly in the fourth house, or at least the fourth, count them, rendition of the classic movie formula film A Star Is Born. Okay, okay I have in previous incarnations gone on and on about Hollywood and now the world cinema “community” pulling the classic of Western literature out of its satchel when pressed-the old boy meets girl routine which has saved more than one film. While that is a factor here in the fourth incarnation of A Star is Born this one does not need such help. Why? Don’t forget that other chestnut from the Western literary canon which is about the falling of some of the gods-and the rise of others-even humans if you can believe that in the Christian era. Hollywood speak translation: one star rises, and the other falls make a compelling story even if as in this plot-line neither party is trying to bring the other down like those Greek and Roman gods liked to do as they tussled with each other.

Looking at the pedigree of the writers who have worked through the various renditions of this film makes my small observation about its genesis way back in the depths of Western literary tradition very much to the point. How about this listing, Dorothy Parker, David Selznick, yes, the big-time producer back in the day, Ring Lardner, Jr. Budd Schulberg and a host of others. So the writing is no question solid. The 2018 version follows suit since with very few exceptions it follows the outlines of the previous renditions going back to the 1937 original with Janet Gaynor and Frederic March.    

There is clearly a divide perhaps reflecting the times between the four versions, the first two centered on Hollywood with Gaynor being a rising movie star and March in decline. The 1954 Judy Garland-James Mason version likewise. With 1974’s Barbra Streisand-Kris Kristofferson’s version we update to a musical theme with the female role a rising singer and the male in decline due to alcohol addiction and hubris. This latest version takes off on the latter combination with Bradley Cooper, as Jackson Maine, however, seemingly channeling the ghost of Kristofferson with his performance. Lady Gaga however is her own self and is nothing like what now seems like a demure performance by Streisand. We are now off to the races.

Our man Jackson still has some musical energy left when he meets Ally, Lady’s role, in a drag bar, a new touch which probably would set Selznick’s hair on fire back in the day. He is immediately attracted to her personally and can see, as we can, that milady has musical talent. (Never having followed Lady Gaga in her musical career other than continually hearing about outlandish costumes and performances I was actually surprised that she is a very fine singer, can hit the high white notes when she wants to which is high praise in my book.) While Jackson is wooing her in his gee, gosh manner he helps her career in fits and starts. She eventually connects with a big-time producer who manages her career although leading her away from the simpler style she had started out with in favor of lots of pizazz along the lines of a Lady Gaga production from what I can tell. Along the way they get married.

That marriage does not alleviate whatever is stirring inside Jackson who is progressively falling apart, drinking and doping more heavily as his star starts to fade and he can’t get the gigs he used to get. Meanwhile Ally tries to hold onto him for dear life, ready to give up her own career to see him over the hump. He goes to the bottom at her high moment receiving a Grammy making a fool out of himself before realizing he needs help. That hump a recovery program which seemingly helps-for a while. Somewhat inexplicably, given his recovery status, a situation not presented in the other versions where the male lead falls down without help, Jackson commits suicide. End of story except Ally, as with all the previous female leads, has to pay post-mortem homage to her late spouse. See this well-done version with a great soundtrack.