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Pre-Order A Star Is Born (2018) (4k UHD) (Blu-ray) Available for Preorder (1 Viewer)

Ronald Epstein

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Nick*Z

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Saw this last night and have to say that the first half of this latest remake of A Star is Born had me hooked. But then the focus seemed to shift and narrow and concentrate on the Jackson character to the point where the movie was no longer about giving 'birth' to a new talent, but wallowing in the self-destructive attempt at a resurrection of the other, who would not and could not be saved. The rock milieu still clicked as it should and Cooper and Gaga are in fine voice, have on-screen chemistry too. But it just felt off kilter to me, and unwieldy after the half-way mark. It never regained its equilibrium, at least in my opinion.

The 1954 A Star Is Born remains the greatest adaptation of this time-honored tale for, I think, one key reason: because Judy Garland's real life so closely and painfully echoes that of her alter ego screen hubby, Norman Maine; and while Gaga plays at being emotional fragile, Garland actually was just that. None of the other versions lay bare the meteoric highs and lows of what the calculus of stardom is really all about. Watching the '54 version, one's heart breaks wide open for the loss of a truly remarkable talent - Garland. Viewing this latest incarnation, however superbly played, is merely a pantomime of those rawer, and un-fake-able human emotions.

Regrets. Life's full of 'em. But only the '54 version plays them for what they truly and tragically, are.
 

Robert Crawford

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I don't think Stefani played Ally as being emotional fragile until after the suicide. To me, she was a strong woman, but was unsure of herself as a performer of her own song-writing. She lacked confidence in that regard until Jackson pulled that out of her, but emotionally I thought she was a strong person through most of the film.
 

Colin Jacobson

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Saw this last night and have to say that the first half of this latest remake of A Star is Born had me hooked. But then the focus seemed to shift and narrow and concentrate on the Jackson character to the point where the movie was no longer about giving 'birth' to a new talent, but wallowing in the self-destructive attempt at a resurrection of the other, who would not and could not be saved. The rock milieu still clicked as it should and Cooper and Gaga are in fine voice, have on-screen chemistry too. But it just felt off kilter to me, and unwieldy after the half-way mark. It never regained its equilibrium, at least in my opinion.

The 1954 A Star Is Born remains the greatest adaptation of this time-honored tale for, I think, one key reason: because Judy Garland's real life so closely and painfully echoes that of her alter ego screen hubby, Norman Maine; and while Gaga plays at being emotional fragile, Garland actually was just that. None of the other versions lay bare the meteoric highs and lows of what the calculus of stardom is really all about. Watching the '54 version, one's heart breaks wide open for the loss of a truly remarkable talent - Garland. Viewing this latest incarnation, however superbly played, is merely a pantomime of those rawer, and un-fake-able human emotions.

Regrets. Life's full of 'em. But only the '54 version plays them for what they truly and tragically, are.

I'm confused: you think the 1954 film works best because its lead actress led a life that was close to that of a character she didn't play?
 

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