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A star soars; the other crushes and burns itself. It's a story as old as time, flattened and tired by constant repetition. So why on earth did Bradley Cooper choose to make his debut as a director with the third remake of A star is born? What could he bring to the role of self-destructive poster head living in the shadow of the protege that he loves? And why did he ask Lady Gaga, who was in his first lead role, to follow in the footsteps of the legends who played the novice role: Barbra Streisand (1976), Judy Garland (1954) and Janet Gaynor ( 1937)? Talk about walking on a tightrope without a net.
The movie starts and you say, "Oh no, not yet." And then, boom: Cooper sneaks and draws you to attention. Although the origins of the film do not disguise, the new approach of the actor turned director allows A star is born to emerge as a rocket from the moving music, drama and sorrow. By throwing the usual bullshit of Hollywood for something that looks raw, rough and inhabited, Cooper and Gaga make it come out of the park. By perfectly integrating some great original songs into a script that he wrote with Eric Roth and Will Fetters, Cooper is rephrasing his Star for a generation in this moment tired of watching the blunt truth give way to softball fantasy. The Oscar race has officially begun.
His character, Jackson Maine, is a crazy country rock, lover of alcohol and punch lines. The musician's depressive state finds its roots in a turbulent childhood that is reflected in his controversial relationship with his older brother Bobby (Sam Elliott), who dislikes Jackson from co-opting his voice. And Dave Chappelle brand Noodles, a friend who fears that even love does not save the soul of the musician. Cooper's performance is reinforced by his surprisingly credible vocals. There are times when Jackson's words come to him again, as in: "Maybe it's time to let the old habits die."
Or maybe the time has come for him to find his goal by helping Ally, a waitress who does not do anything as a singer-songwriter. The role is usually played as an ingenious looking for advice in a world of male predators. Fortunately for us – and the movie – Gaga is not ingenuous. His future star of a turbulent Italian family (Andrew Dice Clay through the role of his father Sinatra-crooner) was kicked out by an industry that loves his sound, but not his look. She is a street fighter who knows she is good. However, Ally balks when this famous singer drags her on stage.
Of course, the crowd goes wild. Gaga is a flash of emotions – and a sacred actress. Born of Stefani Germanotta, Gaga is built as a visual extravaganza of a woman (remember that meat dress?). But not in this movie. To play Ally, she is stripped of all artifice. There is nothing to hide behind. And while Jackson retracts, she inhales it like oxygen. The script suggests a clear idea that Ally could be lost in the same way as his father. His new manager, Rez (Rafi Gavron), wants Aly to add dancers and glitter to his act. Can she resist?
Cooper elevates a used genre by completely integrating the story and the song. And the film gains in authenticity by recording live songs, solos and duets, at various music festivals, including Coachella and Glastonbury. Jackson and Ally are songwriters who write what they live. Early, they sit in front of a supermarket at night to write a hymn about the euphoria and terror of what lies ahead. It's called "The Shallow" – and it's easily the best movie song in years.
The director's commitment to the subject is expressed even when the film dangerously opens onto a superficial feeling. It is incommensurable that the songs Cooper and Gaga have written in tandem with other musicians, including Mark Ronson, Jason Isbell and Lukas Nelson (Willie's talented son), give real urgency to this tragic love story. You're drawn into a field of strength thanks to Cooper's chops and Gaga's sound and fury. By the time the final credits roll, you realize that in fact, two stars are born.
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