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Josh Steinberg

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I haven't seen the new version (yet) but I would guess that the 1954 version (and any of the ones earlier than that) are going to be different enough to enjoy as they're own thing just by virtue of those being Hollywood tales rather than rock star tales.
 

Robert Crawford

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I haven't seen the new version (yet) but I would guess that the 1954 version (and any of the ones earlier than that) are going to be different enough to enjoy as they're own thing just by virtue of those being Hollywood tales rather than rock star tales.
Cooper made sure to salute the prior films with certain sequences. I won't discuss until you see it.
 

Josh Steinberg

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Cooper made sure to salute the prior films with certain sequences. I won't discuss until you see it.

I'll keep an eye out, but that makes me even more excited to see it than I already was. Just trying to find a time that works for both my wife and I to go, and it's turned out to be a slightly busier week than expected. I was hoping to see it in Dolby Cinema but realizing that by the time we get to it, might have to make due with just a regular theater. Either way, this new version is at the top of our joint list of things to go see.
 

RichMurphy

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Saw ASIB yesterday at DC's Uptown Theatre, and enjoyed it more than I thought I would. I would place it in second place behind the Janet Gaynor version. The Garland version is a close third, only because it is too long. I remember going to the premiere of the restored Garland version at the same theatre and my immediate reaction was that Warner Bros. was right in editing it. (I know, heresy!) I did not care for the Streisand version.
 

Josh Steinberg

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Josh,

Do you have Filmstruck?

I don't. I have the older AppleTV which does not allow you to add apps - it only shows the ones that Apple pushes through - and Filmstruck isn't one of the options on there. At some point I'll upgrade to one of the newer ones and then I'll check it out. But I do own the Garland one on DVD, always meant to upgrade to BD, just never got around to it. I probably should wait now in case Warner decides to do a deluxe version of the new version with the older version(s) included.
 

Colin Jacobson

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Saw ASIB yesterday at DC's Uptown Theatre, and enjoyed it more than I thought I would. I would place it in second place behind the Janet Gaynor version. The Garland version is a close third, only because it is too long. I remember going to the premiere of the restored Garland version at the same theatre and my immediate reaction was that Warner Bros. was right in editing it. (I know, heresy!) I did not care for the Streisand version.

Even greater potential heresy: the Garland version would be much better if it trimmed/lost most of its musical scenes.

Most are irrelevant and seem to exist just because audiences wanted to hear Judy sing. They don't advance the plot and they really make the movie drag...
 

Matt Hough

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Even greater potential heresy: the Garland version would be much better if it trimmed/lost most of its musical scenes.

Most are irrelevant and seem to exist just because audiences wanted to hear Judy sing. They don't advance the plot and they really make the movie drag...
I could not disagree more. Every one of the numbers has been woven into the fabric of the film with a specific purpose in mind. Whether it's a "meet cute," a number to demonstrate why Norman has faith in Esther's talent, the very lengthy "Born in a Trunk" to display her versatility to demonstrate why Esther became a big star so fast (and if An American in Paris can have its eighteen-minute ballet, Judy should certainly be allowed her own showcase), the proposal caught over the recording mics, and supremely to juxtipose ironically Vicki's movie character's carefree personality with Esther's tortured soul dealing with her husband's deterioration while she "smiles through tears." "It's a New World" might be the only one I might think could have been cut though it's the most delicate and soulful of the film's six numbers.
 

Robert Crawford

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I don't. I have the older AppleTV which does not allow you to add apps - it only shows the ones that Apple pushes through - and Filmstruck isn't one of the options on there. At some point I'll upgrade to one of the newer ones and then I'll check it out. But I do own the Garland one on DVD, always meant to upgrade to BD, just never got around to it. I probably should wait now in case Warner decides to do a deluxe version of the new version with the older version(s) included.
The reason why I mentioned Filmstuck is that there is a 19 minute interview with Bradley Cooper that you would enjoy as he talks about the film and the nods he gives to the prior versions as well as Judy Garland.
 

Robert Crawford

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Even greater potential heresy: the Garland version would be much better if it trimmed/lost most of its musical scenes.

Most are irrelevant and seem to exist just because audiences wanted to hear Judy sing. They don't advance the plot and they really make the movie drag...
I'm not sure about that when it comes to those prior versions, but one of the things why I like this current version so much is because Cooper stated that each song tries to tell a story. If you pay close attention to the lyrics, each song talks about where Jack, Ally or the both of them are at emotionally in the movie and their relationship.
 
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Colin Jacobson

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I could not disagree more. Every one of the numbers has been woven into the fabric of the film with a specific purpose in mind. Whether it's a "meet cute," a number to demonstrate why Norman has faith in Esther's talent, the very lengthy "Born in a Trunk" to display her versatility to demonstrate why Esther became a big star so fast (and if An American in Paris can have its eighteen-minute ballet, Judy should certainly be allowed her own showcase), the proposal caught over the recording mics, and supremely to juxtipose ironically Vicki's movie character's carefree personality with Esther's tortured soul dealing with her husband's deterioration while she "smiles through tears." "It's a New World" might be the only one I might think could have been cut though it's the most delicate and soulful of the film's six numbers.

Cut 'em all! No musical numbers! Boo! Hiss! :laugh:
 

RichMurphy

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Cut 'em all! No musical numbers! Boo! Hiss! :laugh:

I know you are joking, but I was the one that started the "heresy" subthread about the Garland version being too long, and even I wouldn't touch "The Man That Got Away". It's a stunning scene in its own right (at my screening years ago, the near-sellout audience sat in raptured silence and broke out into applause at the end of the song - at a MOVIE!). Plus, it is the "aha" moment in the film where James Mason, and the audience, realizes that this character IS indeed a star.
 

Brian Kidd

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I had the pleasure of seeing a print many years ago of the restored 1954 version at the Ohio Theater in Columbus. It's a grand old movie palace with the largest screen I've seen outside of (real) IMAX. I had seen it before on VHS, but watching it as it was intended to be seen was a totally different experience. By the end of the "Born in a Trunk" number, the audience was applauding. It's one of my favorite film-going experiences and made me a Judy Garland fan for life.
 

PMF

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Saw the 2018 A Star Is Born today and loved it. It moves into the second slot behind the 1954 film (still the definitive ASIB) and before the 1937, 1932 and 1976 (which I detested) versions. Liked all of them on some level except as noted the heinous 1976 version (and I'm a huge Streisand fan).
I believe that the 1976 version had the working title of "A Perm is Born".
But hey, as Robert Crawford noted, it did give us "Evergreen";
and, as for me, I enjoyed watching the DP work of Robert Surtees.

The buzz on this Cooper/Gaga version has placed me on the road towards checking it out.:thumbs-up-smiley:
 
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Noel Aguirre

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Of course this version has to be better since Gaga’s voice is built for rock and Streisand’s not at all- never was- and hence she’s not believable as a rock star regardless of script etc. However she must be given credit for changing the premise to rock as she was the one of the film’s producers.
 

Mark Mayes

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Noel Coward said about the 54 "A Star Is Born:
" What has happened to the famous, once famous, American timing sense? In spite of fine acting performances by Judy Garland and James Mason and a lavish, highly-colored production, it dragged interminably. Every song was attenuated to such a length that I thought I was going mad. One in oarticulsr, "Born in a Trunk", started brilliantly but by the time it was over and we had endured montage after montage and repetition after repetition, I found myself wishing that dear enchanting Judy was at the bottom.of the sea."
"The Noel Coward Diaries, edited by Graham Payne, 1982 Little, Brown & Co."

i don't entirely agree, but those complaining about the musical.numbers in the Garland film are in good company. I have seen all the versions, including this 2018 version and remain a faithful proponent of the 37 version being the best. It's concise, always modern in its cynicism and the performances remain truthful.
 

Robert Harris

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I had the pleasure of seeing a print many years ago of the restored 1954 version at the Ohio Theater in Columbus. It's a grand old movie palace with the largest screen I've seen outside of (real) IMAX. I had seen it before on VHS, but watching it as it was intended to be seen was a totally different experience. By the end of the "Born in a Trunk" number, the audience was applauding. It's one of my favorite film-going experiences and made me a Judy Garland fan for life.

Love the Ohio!
 

Nick*Z

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I never understood the following for the Streisand version - and this, also being a huge Streisand fan. But that version is terrible for all of the reasons already mentioned herein. Will always consider the Garland/Mason/Cukor '54 version the definitive A Star is Born. It's a perfect entertainment - exquisite to the last detail. Have a soft spot for the Gaynor/March version too, although it has dated rather badly, particularly Gaynor's bad impressions of top-flight Hollywood celebs of their day.
 

GlennF

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A BIG BIG fan of the '54 version and paid to go see it when they reissued it with as much of the missing footage as they could find as possible. I enjoyed seeing it, yet wish on the Blu-ray you had the option to play the movie without the added scenes as they make the movie very long and the still photos used in some places do take you out of the action. So, I still have a soft spot for the 154 minute version that was the only one available for years. For me the "Lose That Long Face" number just doesn't particularly work for me, but that, of course, is just my opinion.
 

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