A STAR IS BORN 1976 lecinemadreams.blogspot.com/2018/06/a-star-is-born-1976.html

"Cut away from me?" "Honestly, it's too much of you. They don't want you in every scene." "They don't? Then why do they write me fan letters ever day? Why do they beg me for my photograph? Why? Because they want to see me! ME...Norma Desmond! Put it back" "Okay." -Sunset Boulevard (1950) Every generation deserves its own revolution, its own slang, its own music, and apparently, its own A Star is Born. Yes, that enduring Tears Behind the Tinsel fable about the doomed love affair between a star emergent and a star descendent is returning to the screen for its fourth iteration in 2018. What began life as George Cuckor’s What Price Hollywood? (1932) starring Constance Bennett and Lowell Sherman, was in 1937 remade and retooled into the form most recognize today and dubbed A Star is Born (1937) starring Janet Gaynor and Frederic March. In 1954 original director George Cukor returned to helm what is perhaps the most familiar and iconic version of the now thrice-told tale, the musicalized A Star is Born starring Judy Garland and James Mason. Garland's version, like those that came before, was set in Hollywood and the motion picture industry. When Barbra Streisand teamed with folk singer Kris Kristofferson for the eagerly-anticipated 1976 remake, the film was again made into a musical but the setting was now the world of rock and roll. Well, let's just say the music industry. October, 2018 will bring us yet another musical adaptation of A Star is Born, this time starring Bradley Cooper (making his directing debut), and Lady Gaga (nee Stefani Germanotta) whom I’m glad to see has finally abandoned her meat dress. Though one might think a contemporary update of A Star is Born would find an up-and-coming winner of a reality TV singing competition falling in love with an opioid-addicted YouTube celebrity suddenly faced with a deficit of “likes”; from the looks of the new film's trailer—Cooper sporting long hair and a 1/17

scraggly beard, Ms. Gaga granted a Funny Girl-esque scene where the hero tells the selfeffacing heroine she’s beautiful—it’s clear A Star is Born: 2018 will be tipping it's hat to the classic Judy Garland film, but taking its cues from the Barbra Streisand version.

Barbra Streisand as Esther Hoffman

Kris Kristofferson as John Norman Howard

Gary Busey as Bobby Ritchie, a road manager

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Paul Mazursky as Brian Wexler, a manager

As Helen Lawson so memorably reminded us in Valley of the Dolls, “Broadway doesn’t go for booze and dope.” But when it comes to the world of rock & roll, accept no substitutions. At least that's the philosophy of down and burnt-out rock sensation John Norman Howard (Kristofferson) who needs a bump of coke and a swig of Jack Daniels just to get through his passionless concert engagements. Concerts in which he’s obliged to give repeat performances of past successes (like a pre- “Garden Party” Rick Nelson) to faceless throngs of entitled fans he has grown to resent. Unprofessional, uncommitted, and disrespectful of his own talent, John Norman is a has-been in training, isolated and world-weary of the sex/drugs/rock &roll existence of a superstar.

More a folk singer than hard rocker, Grammy Award-winning singer/songwriter Kris Kristofferson didn't write any of his songs for A Star is Born. Which is a pity, and perhaps why they're so undistinguished

One alcohol-soaked night out on the town he happens to catch the act of curly-haired chanteuse Esther Hoffman (Streisand) and finds in the warm, lush, plush notes emerging from her fair throat, a glimmer of the commitment and raw talent he’d lost touch with within himself. Of course, he’s instantly besotted. 3/17

The Oreos Yep. That name actually passed for cute and edgy back in the '70s. Though the two women flanking La Streisand appear throughout the film as Esther's backup singers and ostensible friends, neither is even given a name. Maybe that's because their primary purpose in the film is to make Streisand sound less like an "Easy Listening" artist, while simultaneously serving as signifiers of how hip and down to earth Esther is (Look! She even has black friends!). In real life, backup singers Clydie King (left) and Venetta Fields are recording legends in their own right, with careers dating back to the early '60s.

Putting aside for the moment the credibility-stretching conceit that growl-rocker John Norman would find the cutesy Captain & Tennille-esque ditty Esther is crooning remotely engaging in the first place. In order for this scene to work one must also accept that between persistent interruptions from a waitress, a pushy fan (Robert Englund), and the eventual outbreak of a fistfight, John Norman is still able to detect something special about our Esther (her perpetual backlight, perhaps) that makes him certain his racing heart is not just the result of all that cocaine, but rather, something in her voice and shy manner (“You’re blowin’ my act!”) that touches his showbiz weary soul. They court cute, he wooing her by showing her his adorably immature and self-destructive streak, she by being all judgy about his life choices, thereby demonstrating that she’s a straight-shooter unimpressed by wealth and celebrity. How can love fail to bloom? And while Esther exhibits very little in the way of professional ambition (she's actually responsible for her trio losing a commercial job because a silly jingle for cat food clashes with her artistic purity), John Norman encourages her songwriting and uses his fame and connections to give his lady love a leg up in the business. Her breakthrough moment comes when she steps out onstage in a conservative pantsuit and wows a crowd of rock fans with her MOR pop groovin’... and before you know it, a star is born.

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Wailin' Esther Hoffman She's not your father's rock & roller...oh, wait...maybe she is

Romantically, John Norman and Esther are good for each other in that mutual fixer-upper way beloved of soap operas and doomed romances. So when they hastily marry and the movie momentarily grinds to a halt to accommodate a protracted fashion show/Barbra Streisand ass and legs appreciation hour; there's some comfort in knowing they can’t keep up these shenanigans for much longer. But as picturesque as they are, all those lengthy romantic montages come at a price. Because were talking Barbra Streisand here, maybe the filmmakers expect audiences to take Esther’s eventual success as a given. But in a 2 ½ hour movie titled A Star is Born, it’s almost perverse that the film seems to staunchly refuse to show us how she becomes a star. One minute she goes over well at a benefit concert, the next she's got a song on the charts and the world is clamoring for tour engagements. Further compounding the sense of things feeling rushed is we never know how Esther feels about her life being changed. Nowhere to be found are scenes of Esther reacting to sudden wealth, celebrity, or having all her dreams come true. On the contrary, Esther never seems to enjoy her success at all. The screenplay has her treating her newfound fame as some kind of necessary annoyance she has to endure in order to support her poncho habit and all those artfully staged gambols with John Norman out in the desert.

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Tony Orlando stands by as Rita Coolidge (Mrs. Kristofferson) eyes Barbra suspiciously. Even before her inebriated husband appears in time to drop an F-bomb on live TV, Esther is the glummest Grammy nominee you've ever seen. Most us know that the average celebrity would sell their first-born for an industry award, but not our Esther. On what should be the realization of a lifetime dream, Esther is so disinterested in the award, she almost leaves the ceremony early.

As Esther climbs further up the ladder of success (something we just have to take the film's word for) John Norman finds it increasingly difficult to gain even a foothold, sinking deeper and deeper into his old self-sabotaging ways. Since there’s no telling how much time has elapsed between courtship to crack-up, the tension in their relationship takes a backseat to the masochism. That is until fate or a suicidal act of selflessness intervenes (it’s left ambiguous which), successfully granting Streisand fans what they’ve wanted all along: unobstructed access to La Plus Grande Diva du Monde. Streisand fans have their patience rewarded with an eight-minute concert medley shot entirely in closeup. A closeup wherein Streisand's famed vocalizing is in constant danger of being upstaged (and not in a good way) by her Valerie Cherish-style boogying. The dramatic emphasis placed on this sequence: Esther on her own, singing her late husband's songs, with heightening self-assurance, introduced to the crowd as Esther Hoffman-Howard...suggests that THIS is the moment that a star is born.

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Initially shot in a single tight closeup, new footage restored to A Star is Born in 2018 alters the finale to include more wide shots

I’m not overly fond of remakes, but in 1976 so much had changed in both in the world of celebrity (recording artists were as big as movie stars) and society’s attitudes towards women (a wife with a more successful career than her husband wasn’t considered “quite” the emasculating tragedy it was in 1954), that a rock & roll update of A Star is Born sounded like a pretty sound idea. And while it was hard to imagine anyone bold enough to try to follow in the ruby slippered footsteps of Judy Garland in the role, if there was any star in the '70s with that kind of nerve, it was either Barbra Streisand or Clint Eastwood; and 1969s Paint Your Wagon had already strained the limits of what most of us were willing to subject ourselves to vis a vis Clint Eastwood singing.

A Star is Born was a Christmas release, vying for holiday boxoffice dominance against 7/17

another high-profile remake, Dino De Laurentiss' King Kong. I wasn't what you'd call a huge Barbra Streisand fan at the time, but when A Star is Born opened that Christmas at The Northpoint, one of San Francisco's largest theaters, I allowed myself to get all swept up in the pre-release hype. So much so that the film's central paradox--that Barbra Streisand was known for a lot of things, but heavy rockin' wasn't one of them--didn’t really hit me until I was sitting, dumbstruck, watching the movie in the theater. Almost immediately it became apparent that even the faux, sanitized vision of the rock world presented in A Star is Born was an ill-fit for Streisand's image, look, and sound.

Originally titled Rainbow Road and conceived as a co-starring vehicle for then real-life couple Carly Simon and James Taylor, a rock and roll version of A Star is Born actually makes sense. (Too much so, it would appear, if one believes accounts of Simon and Taylor turning the film down because it hit too close to home.) Newbie producer Jon Peters thought the property would make the ideal image-changing vehicle for his lady love, but it is precisely Streisand's involvement that proves the most problematic element of the enterprise. Does she posses star quality and magnetism? Yes. Is she a dynamic personality who energizes the film? Yes. Does she have a remarkable voice? Yes again. Is she for one minute convincing as the kind of singer capable of getting rock audiences to sit up and take notice? Absolutely not. In retrospect, it strikes me that Streisand, a recording artist trained in musical theater and supper clubs, may have been better served by a A Star is Born set in the more traditional showbiz worlds of Hollywood, Broadway, or even Las Vegas. But, seeing as A Star is Born revisit the same “Oh, My Man/Oh, My Career� themes featured in both Funny Girl and Funny Lady, I can appreciate the appeal a change in setting might have presented.

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"I don't mean to be difficult... ." Misogyny has always played a factor in how Streisand's professionalism has been represented in the press. Sensitivity to this is perhaps why, by 1976, it had almost become a staple of Streisand's films to feature a scene where she's shown telling people how to do their jobs.

Barbra Streisand hasn't really been "hip" since the early days of her career when she seen as a kooky bohemian with an avant-garde, thrift-shop sense of style. Since then her appeal has largely been "middle": middle of the road and middle-aged. A Star is Born was an effort to recast Streisand as a contemporary of Linda Ronstadt and Stevie Nicks, but her larger-thanlife persona, studied self-awareness, showbizzy comic delivery, and penchant for drag queen levels of glamour overkill all feel feel all wrong for the world of concert stadium rock. Even taking into account the weirdness of the 1976 music scene, wherein youth-centric TV music shows like The Midnight Special and Don Kirschner’s Rock Concert would feature such headscratcher bookings as The Hudson Brothers and Helen Reddy appearing alongside Chaka Kahn and Fleetwood Mac; buying Barbra Streisand as a rocker still remains a major stretch.

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For A Few Dollars More Critics ripped it apart, but A Star is Born was a huge hit for Streisand and one of the top boxoffice releases of 1976

A Star is Born is Streisand’s first feature film after satisfying a four-picture, ten-year commitment to producer Ray Stark with the “contractually obligated” Funny Lady. As the first of her films over which she was able to exert near-total control (her clashes with director Frank Pierson are the stuff of legend), it’s no small wonder that A Star is Born at times feels a tad overdetermined in placing Streisand even more front-and-center than a star-propelled vehicle like this necessitates. A Star is Born was Streisand's big chance to present herself exactly as she wanted to be seen, and in press conferences she was fond of telling reporters that situations and dialogue were drawn from her relationship with Jon Peters (her hairdresser on 1974s For Pete’s Sake, now producer and lover). Streisand filled Esther’s apartment with furnishings from her own home, and even indulged herself with a “Ms. Streisand’s clothes from…Her Closet” credit. For the first time Streisand actually invited audiences to draw comparisons to herself and a character she was playing. All of this makes A Star is Born doubly fascinating, for it not only gives us a glimpse of what a self-professed perfectionist thinks is good, but a sobering look at how a star, when finally granted power, chooses to wield it. Woman on Top

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On the plus side, all of this makes Streisand's Esther Hoffman considerably less passive and victimized than her A Star is Born predecessors. She fights back, yells, tells professionals how to do their jobs (a Streisand movie staple by now), and engages in gender-flip activities like proposing marriage, removing the word "obey" from their marriage vows, putting makeup on John Norman in the bathtub, wearing tailored suits when she performs, and riding John Norman like a pony when they have sex.

Lost Inside Of You A private reason I was so keen on seeing A Star is Born is due to having developed a crush on Kris Kristofferson from having seen him earlier that year (a LOT of him) in The Sailor Who Fell From Grace With The Sea co-starring Sarah Miles. Short of some Barbra side-boobage and several views of Kristofferson's happy trail, nothing remotely as explicit as above transpires in A Star is Born

WHAT I LOVE ABOUT THIS FILM I know what I’ve written thus far doesn’t seem like it, but A Star is Born really IS a movie I love. Part has to do with my fond memories of this particular time in my life and nostalgia for the '70s (and this movie is as '70s as a mood ring); part because of the soundtrack (still the film's strongest suit); and only the most self-serious Streisand fan would deny the camp appeal of the film's in-your-face vanity project aesthetic. It's all Barbara, all the time. Which isn't necessarily a bad thing. 11/17

Part of my love and appreciation for Barbra Streisand lies in the fact that even when she’s miscast (Hello, Dolly!), ill-used (Meet The Fockers), or unhappy (Funny Lady), she’s never less than mesmerizing to watch.

Future Oscar-nominee Sally Kirkland shoots Esther's best side as Barbra Streisand channels Cleo Laine

As stated, I think the soundtrack to A Star is Born is its greatest asset. Academy voters must have thought so too, granting the song “Evergreen” the only Oscar win of four nominations (all technical: cinematography, sound, and score). It's a Streisand showcase all the way, but Kristofferson--granted but two songs to perform on rotation--does a nice job on "Crippled Crow" and when Streisand allows him a cameo on the songs fashioned as duets. More melodic pop than rock, I like the ballads best, my favorite being Paul Williams’ “With One More Look At You.” A testament to the soundtrack album's strength is that listening to it provides a purer A Star is Born experience than actually seeing the film. I received the LP as an early Christmas gift and listened to it over and over before seeing the movie. In the final analysis the songs revealed character and carried the narrative arc far more evocatively than the film ever did.

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As John Norman's road manager, Gary Busey gives a performance so good, you practically ache thinking about what A Star is Born had the potential to be

THE STUFF OF DREAMS I think it’s fair that every generation gets its own A Star is Born. With each new incarnation comes the hope that the film will deviate from its predecessors enough to say something new and relevant to its time. Everybody loves a good love story, so there’s always that; but fame worship and the cult of celebrity dominate our culture so disproportionately and dangerously these days, a real opportunity presents itself with a remake. So, A Star is Born, I guess it's time to take one more look at you.

BONUS MATERIAL 13/17

"Will there be anything else, Ms. Streisand?" Barbra Streisand's assistant during the making of A Star Is Born was actress Joan Marshall. Then married to director Hal Ashby (Shampoo), she's billed as Joan Marshall Ashby in the credits, but fans of William Castle know her as Jean Arless, the knife-wielding star of Homicidal.

Guest Stars

Fans of What Ever Happened to Baby Jane? are sure to recognize Maidie Norman

1988 Best Actress Oscar nominee for Anna, Sally Kirkland

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Robert Altman favorite Marta Heflin

Freddy Krueger himself, Robert Englund

That's Roslyn Kind, Streisand's younger half-sister. She appears in the film for less time than it takes for you to read this. And she's never in focus, to boot.

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Streisand & Kristofferson were reunited in 1984 for her first music video: "Left in the Dark." The six-minute video for the Jim Steinman song (which appears on her "Emotion " album) was directed by Jonathan Kaplan (The Accused, Love Field, Heart Like A Wheel). Watch it HERE

From the Literary Corner Novelizations were a popular movie marketing tool in the '70s. If the book is anything like the purple prose featured on the promotional bookmarks (click on image to enlarge), perhaps I shouldn't have passed this one by

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Are You Watching Me Now?

Copyright © Ken Anderson

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