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A star is born "It's not right to be as good as it is." Directed by Bradley Cooper, the third remake of David O. Selznick's 1937 film has been in development for much of the decade, and at one point included Clint Eastwood as director with, impossible, Beyoncé in the lead role of Lady Gaga. . The immersive and romantic narrative of singer-songwriter Ally (Gaga) and her relationship with veteran rocker Jackson Maine (Cooper) as he looks at the old rocket to pop fame is imbued with the kind of rock music that usually provokes a derision in the current cultural climate. . However, alongside the powerful turns of Cooper and Sam Elliott, Gaga shines brightly with an empathic performance that is a synthesis in reverse of the last years of his career.
Since the aggressive sound of 2013 artpop, Gaga moved away with each change of career of the brand of pop which put on the map of its beginnings in 2008 Fame; she started singing alongside Tony Bennett for 2014 Cheek to cheek and jumped into the studio with Kevin Parker of Tame Impala and Father John Misty for 2016 Joanne. When the curtain rises A star is bornshe covers Edith Piaf with false eyebrows glued to her face; two hours later, she is a full-fledged pop star, with dancers as reinforcement and costume changes in the split second. With a totally organic and realistic performance, Gaga again engages in the blurring between person and character with whom she has played for a large part of her iconographic career until now.
Although Gaga's performance is the symbol of a popular celebrity that has lasted for a decade, there is nothing in the seemingly modern world. A star is born this really reflects the current 2010 pop scene. For starters, it's a bit hard to imagine the country rock tinted in the wool playing in front of such a vast audience at Coachella as in the opening scene of the movie; Elsewhere, a Halsey cameo and a pivotal scene centered on the type of tribute to Grammy stars, which usually transforms social media into a unanimous spread of grievances, confers modern interest to modernity. This disconnection from our reality is totally satisfactory: A star is born seeks to achieve a timeless atmosphere that does not require the current relevance of pop culture.
The film's official soundtrack is also old-fashioned, though its credits include a host of modern songwriters of pop, country and rock. In addition to Gaga and Cooper, Jason Isbell, Lukas, son of Willie Nelson, Mark Ronson, Miike Snow singer Andrew Wyatt, stage magicians Julia Michaels and Justin Tranter are hiding behind the list. The songs are divided into several distinct silos – deafening blues rockers, soft acoustic ballads, anthemic flame vocals and robotic electro-pop – and save one or two digital songs on the pop that makes up much of the back half of the film there There are very few things that would have seemed out of place on the hit movie soundtracks of recent decades.
At its peak, the album keeps its promises: some of the most moving and moving pop songs of the year. If you've spent half a day on the internet in recent weeks, you've probably met the explosive duo Gaga-Cooper "Shallow", and rightly so; it's a stormy ballad so iconic that its place in the Academy Awards for decades to come is virtually guaranteed. At the risk of heresy, however, she might not even count as the loudest song of the album. At least, it tarnishes with the swaying and still sentimental "Always Remember Us Us This Way" and stunning the film. tearing, "I will never love again."
Gaga – the last two solo – is one of three outstanding players, reflecting the somewhat uneven nature of the cuts conducted by Cooper. The song "Maybe It's Time", simple, sincere and written in the isbell style, has a discreet radiance, but the songs of Cooper in Maine take a somewhat anonymous form of blues-rock and more dynamic moments. Despite the strength of Gaga's performances captured on this soundtrack – all the live taps recorded during the shooting, an approach she insisted on – she's not totally unplugged when it comes to lowlights; The more explicitly pop songs that make Ally rise as a solo artist go from forgettable ("Heal Me") to ridiculous ("Why did you do that?").
The simple act of engaging with A star is bornThe songs at home pose a very modern problem: dialogue or no dialogue? The streaming services currently offer versions of the soundtrack of the film without dialogs or with many dialogues, the latter functioning as a somewhat spoiler but surprisingly immersive experience of the film itself. Choosing the version to broadcast is a special puzzle (imagine, for example, buying two separate copies of The bodyguard soundtrack), but even though "I'll Never Love Again" is quite effective in itself, the version of the song, which includes a dialogue, cuts dramatically in its final seconds in the same way that does the film: go back in time since Gaga's time-interrupt performance in a crucial and heartbreaking scene that only reinforces the emotional quotient of the song.
Switching is an interesting trick as a listening experience, but it also unintentionally emphasizes the fault A star is bornThe soundtrack: it just can not contain the emotional feeling of watching the songs performed in the movie. The live recording of "Always Remember Us This Way" does not capture Gaga's passionate physical childbirth behind the piano, her face being adorned with a JumboTron behind her, while Cooper sees his eyes puffy. And as powerful as "Shallow," nothing matches the real surprise look on Gaga's face as Ally, when she hits her highest register for the first time and effectively launches the song into the emotional cosmos and beyond. of the. These moments testify to his obvious strengths as an interpreter, as well as the impressive work of the music in congress with the images of the film; you can recreate them in your head while listening, or pick your best Gaga singing those songs in the shower, but it's just not as effective as reality.
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