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A blockbuster at the time of it’s unique release (it was the second-highest grossing film of 1976), the third camouflage version of A STAR IS BORN has always divided critics and fans alike. The film start to scathingly negative reviews, however, $5.6 million-budgeted represent went on to unpleasant over $150 million at the box office and won an Academy Award and five Golden Globes. It’s not without some irony that Streisand’s most commercially successful film would also remain her most controversial. For every ten fans who location that STAR is Streisand’s best film, there are always ten more who claim it is the weakest film in her filmography. Although both sides have some merit to back their claims, it should mild be famed that the seventies purchase on A STAR IS BORN remains one of the most touching and highly fascinating showbiz dramas that Hollywood ever produced. For my money, it’s the best version of the often-told record.
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The film is solidly scrumptious and throughly spellbinding. Changing the setting from the dilapidated Hollywood studio system to the competitive world of the music industry was actually a mammoth plan, and the screenplay forges a realistic inequity between the characters’ romance and their careers. This is the main location that the 1976 version of A STAR IS BORN actually surpasses it’s classic predecessors. For example, the film is especially successful when depicting the clashing personal and professional difficulties during recording sessions and the never-ending phone calls that interrupt Kristofferson’s songwriting attempts. This version of the myth is also more believable in it’s portrayal of the lead characters. For example, the female leads in the two previous versions were so virtuous and self-sacrificing that they came off as saints. On the other hand, Esther, the female lead in this version, is not only portrayed as being strong and passionate, but also flawed and conflicted. This makes her feel more exact than the Janet Gaynor or Judy Garland characters felt in the previous films, and makes the fable that grand more effective.
The performances are all on target, even though the supporting characters aren’t fleshed out enough. If you’re looking for an actress/singer who can hasten the shapely line between tough and vulnerable without making herself seem like a script way, Streisand is definitely the girl you want. She’s one of the few film stars who can gain even the most banal dialogue seem new and natural, and, as usual, she manages to do a strong emotional connection with the viewer. Simply effect, her Esther is a fully-realized, three-dimensional human being. Kris Kristofferson may not catch remarkable respect now for his laid-back characterization, however, he’s always though-provoking ogle and displays a magnetic charisma here that he seldom displayed elsewhere in his career. Kristofferson actually received rave reviews at the time from Newsweek, Time, and even the Current Yorker’s usually vicious Pauline Kael. Gary Busey and Paul Mazursky also give believable performances, but both have a fairly minimal amount of screentime.
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The film’s soundtrack recording was also a massive success, hitting the #1 on Billboard’s Hot 200 and selling over four million copies in the US alone. The Streisand-composed “Evergreen” (with lyrics from Paul Williams) is unarguably one of the most pleasing songs in contemporary pop, brought to even-further life by an absolutely incomparable vocal performance from Streisand. The rest of the film’s fresh songs (mostly peaceful by Williams and Rupert Holmes) are resplendent capable as well, and Streisand sounds fabulous – her live solo numbers remain in the memory long after the rest of the movie has venerable. Streisand’s vibrant performances bring “Woman In The Moon” and “With One More Leer At You” to thrilling life, and fabricate even sillier numbers like “Queen Bee” work far better than they have the just to. Kristofferson’s solo numbers sound somewhat tuneless, however, that may have been intentional since he is playing a singer in decline.
Though naturally dated in some respects (it definitely does think the decade in which it was made), the seventies bewitch on A STAR IS BORN peaceful holds up remarkably well. The film is well-mounted and slickly produced, the chemistry between the leads is extremely mighty and always feels wonderful, and Streisand has two emotional scenes approach the finale that are both aching effective. In conclusion, A STAR IS BORN is not only gripping and animated, but it also transcends all criticism.
DVD UPDATE (12-6-06) : The A STAR IS BORN DVD is finally here after several delays, and it was worth the wait. The report quality is well above average, and is very film-like. Obvious, there are the usual tale-tale signs that mar all films from the seventies (namely grain and inconsistent sharpness), but the transfer is expansive for a catalogue title that is over the 30 years archaic. The 5.1 sound is exceptional even by modern-day standards.
As far as supplements, Streisand’s commentary is informative and curious, although I would have loved to hear Kristofferson join her on at least some scenes. The wardrobe test reel is righteous fun, and the 12 deleted/alternate scenes are gargantuan to have. I wish that the promotional television special “With One Recognize at You” and Streisand’s thrilling performance of “Evergreen” from that year’s Oscar telecast had also been included, but perhaps Warner Home Video could not find the rights. All in all, with grand recount, exceptional sound, and a healthy piece of supplements, the A STAR IS BORN DVD was well worth waiting for.
I highly recommend the disc to Streisand fans who will bask in Barbra’s full-length film commentary, 16 exiguous of additional scenes (many previously unseen), and modern wardrobe test footage. Of course, the movie itself in all of its remastered Dolby Digital 5.1 soundtrack glory sounds and looks as vibrant and possibly even better than it played in cinemas. The musical numbers and theatrical lighting are exceptional and features some truly classic Streisand singing on stage. With the inclusion of Barbra’s complete humming and acoustic guitar rendition of “Evergreen,” we finally have the opportunity to appreciate an otherwise unused musical number. Even her commentary is enlightening, revealing that Kristofferson had a first shot at the song’s lyrics but didn’t submit them until honest a few years ago when he sent Barbra a framed copy. Among the deleted footage is Barbra applying lipstick to KK in the bathtub scene where she admits being comfortable enough with him from earlier years to forego anything covering her chest. Indeed, she first met KK at L.A.’s Troubador club escorted by manager Marty Erlichman whose virtues she frequently praises in the commentaries. In her discussion during the film Barbra recalls being sure she wanted to become a film director during A Star Is Born’s shooting, as she often made suggestions to KK between takes and opinion the movie’s director Frank Pierson slash the camera prematurely. After directing three films, Barbra recently declined ASIB producer Jon Peters’s novel invitation to sigh an upcoming ASIB remake. Her commentary also details her music composing resume befriend to “Ma Premiere Chanson,” admitting that winning an Oscar for composing “Evergreen” is the biggest thrill of her career. She wants to release another spot of unreleased songs, including recordings made with Leon and Mary Russell in their home. In the commentary Barbra identifies her antique clothes former in the film and says “People scrutinize ample in shaded…you listen to them better.” Of course, her 2006 concert wardrobe is almost exclusively unlit. She also engages in thoughtful analyses of the importance for her of being in the moment when capturing performances on film, especially her singing. Barbra elaborates how choices were made for the film’s finale and even calls attention to her runny nose quite candidly and humorously. Concluding, she remembers ASIB as “a satisfying work experience,” and that’s how I would recount this DVD, perhaps more than satisfying yet not completely satisfying. Missing is the proper Barbra: With One More Study At You TV program on the making of the movie, copies of which have circulated among fan-collectors for years. The DVD would also be enhanced and appear more complete by a collection of photo stills, especially the famed Scavullo poster session, a staple on nearly all DVDs. Including the fresh 4-minute theatrical trailer for ASIB as well as those for the previous two Star films with Garland and Gaynor is a nice touch.
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