A Star Is Born

The new A Star Is Born has the rare distinction of being a superlative remake. Barbra Streisand's performance as the rising star is her finest screen work to date, while Kris Kristofferson's magnificent portrayal of her failing benefactor realizes all the promise first shown five years earlier in Cisko Pike.

The film is equal parts I Will Survive and pop martyrdom, instigated by a star so enormous that she could likely bankroll the Department of Defense for the year of 1976 and still have money left over.

I enjoyed a lot of A Star Is Born. I thought Miss Streisand was distractingly miscast in the role, and yet I forgave her everything when she sang.

The fourth remake of this story, this is a fairly good, though overlong, film.

Streisand never plays to or with the other actors. She does A Star Is Born as a solo turn. Everybody else is a back‐up musician, which is okay when she's belting out a lyric, but distinctly odd when other actors come into the same frame.

Streisand is so overwhelming a presence that she can probably get away indefinitely with making movies as slipshod as this one. But it would be a shame if she were content to settle for that. [10 Jan 1977, p.64]

Apart from the flash new environment, this version vaunts its modernity by vulgarising everything in sight, making the characters mouthpieces for foul language and equally foul sentimentality

fresh erotic installment.. A Star Is Born A Star Is Born is a character driven romantic drama about a sunken rockstar helping a new comer to become one and the romance that brews in, amidst all the fame and controversies. The conversations between the lead cast is the real gem as always that offers the anticipated electrifying experience to the viewers. The chemistry feels more personal than the ones we have previously experienced and has evolved enormously on screen between these iconic characters since 1937. But unfortunately, it isn't as smart as the previous ones, it is weak on weaving the structure and sequences which at certain points seems flawed and questionable. The feature is visually alluring with stunning live locations and amazing cinematography that makes it supremely pleasing to encounter along with cheering of large crowds and sharp sound effects that offers the field experience. The music as always is a major part of it, and even though background score isn't one of its strength, it certainly has heartbreaking and up beating songs that are not only written but performed beautifully too. The adaptation is a bit raunchy and different this time with more viscosity to make this mythology more grounded but it fails to polish things out from every other perspective which leaves the audience dissatisfied in the end. Pierson's finesse in execution is what binds this scattered script into a whole emotional act that still works for its premise that was tossed decades ago. Streisand's writhing performance is what makes these more than two hours worth alongwith Kristofferson's edgy portrayal of a rockstar, the performance objective is safer if not extraordinary. Few songs, behind the scenes of a rockstar's life, its fresh erotic installment and Streisand's stellar performance are the high points of the feature. A Star Is Born is probably the weakest link of the franchise but it still doesn't suggest in any way that it's bad, it just had a whole lot of expectancy to keep up with.

I found this film a bit cold to start with, in as much as I couldn't quite figure out what the initial plot was supposed to be. Its very music centric, with the first scene being a concert performance and given there was no dialogue between the characters, I'd like to think its perfectly reasonable to be a bit confused. I felt the plot became a bit more clear and a bit more credible after a while - ok, perhaps credible isnt quite the best term but I felt interested enough in what would become of the washed out singer/performer and the young hopeful, to keep watching. There are some certainly entertaining musical numbers provided by Streisand and some interesting draam centric scenes but I wouldn't say its the kind of film that really kept me glued to the screen and desperate to find out what happened. Its a fairly enjoyable watch, its not awful, although there are certainly some cliches present in the script, as well as the obvious cheesiness but then if you watch a film such as this, the target audience possibly hopes/expects it, to an extent. I admit I struggled to feel particularly sorry for the down-and-out'er (played by Kris Kristofferson). Overall I felt this was an ok watch - not especially good and certainly not great, it didn't strike me as having a great deal of substance, which is what I didn't like but if you can hang around for the first 40 minutes or so, it does get a bit better compared to the start and is an alright watch, so I'm going for a 5 out of 10 rating overall.

Third version of this story, at least with that title but the fourth if What Price Hollywood? is also considered and honestly, like the Bradley Cooper version, this no longer felt interesting and this version was released 42 years before that version. Just imagine it. What is the most serious problem in this film? The notorious lack of chemistry between Kristofferson and Streisand and considering the story is built on that, well as a viewer you never care about them and therefore you don't care about the rest. A disappointing remake that even has a forgettable soundtrack that in fact surprises me that it had been so successful. I guess Barbra Streisand's popularity in music had a lot to do with it.

First of all, the only good thing about this movie is Barbra Streisand. She gave it her all in this movie. She can portray this strong-willed woman who is having to deal with some rough stuff because of John in such a stunning way. It’s amazing to see her journey from just a bar singer to a famous singer throughout the film because of her. That’s the only good thing about this film and the rest is just bad. Starting with the pacing in this film. It was all over the place. At some spots, it was slow and in others way to quick. It seemed like they thought they had a longer run time and then learned they didn’t. This film like the other two, now three, is a romance so we should care about the main couple. Well not really in this film. There are so many reasons why Esther should leave John but she never does. John isn’t likable in the least bit either. Kris Kristofferson gave it his all in this role and you can see it so I have to blame whoever created John and decided to make him unlikeable. Finally, the music in this film isn’t catchy like in the 2018 one. I just rewatched the film and I can't name a single song from the film and they won an Oscar for best original song. In the end, if you want to see a great version of this film just watch the 2018 one.

Without question this is the WORST of the five versions of this story Hollywood has released since the first in 1932. Clumsy script, awful music (except for the hit Evergreen which Barbra doesn't even sing in the movie, just over the end credits), zero chemistry between her and Kristofferson, not a single credible scene, unintentionally hilarious suicide scene ... this was a hit at the time but to say it doesn't hold up is an understatement. It was an insult to the excellent 1937 and 1954 versions. I've never seen the 1932 original, WHAT PRICE HOLLYWOOD, but I'm sure it's an insult to that too. Happily the new 2018 version is said to be a worthy successor to 1937 and 1954, although the latter's script, direction and cast led by Judy Garland and James Mason couldn't be bettered.