There are many mirrors on display here to reflect and break, and Star is obviously a tragedy - it wasn't long into the short history of film that it realised the dashed lives the business was built on. Its elaborate construction (esp. showbiz scenes) are stunning, making it poison and cure, the artifice and the critique within. But Garland stands above all, a sincerity so moving we never consider "acting". 4.5
The dubious premise and Garland's age are two strikes against it. The third strike is the length of the film. And yet, and yet....she is a great artist and the rapport between her and Mason is magical. Other pluses: "The Man That Got Away," "It's a New World" and the beautiful look of the film.
I finally saw this movie ... been studying Judy Garland for months ... in some ways this movie completely exceeded my expectations, in most ways, it completely bewildered me. I've never had a movie-going experience like A Star Is Born. There may be no other movie experience like A Star Is Born. The lost footage, the haunting parallels to Judy's off screen life, and then, her performance .... words fail
Lo mejor de esta película es James Mason encarnando a una estrella de la actuación alcoholizada y en decadencia (la escena de Norman Maine interrumpiendo el discurso del Oscar de su esposa es brutal y desgarradora) Los números musicales se hacen cansinos e infinitos.
i can't tell if this is misogynistic (it could certainly be read that way-this story is so old and been done so many times that seems the obvious but maybe shallow answer) but judy garland is amazing and my old gay ass is giving this epic showbiz melodrama full stars
Beautiful to look at, a great lead performance by Garland but the pace and space between songs is too far apart and does not hold your attention despite the cliched showbiz story. Not all of the songs are that good either. I found James Mason's breakdown more believable in Bigger Than Life. Basically everything you could critique about Cukor's My Fair Lady, mainly the lull pace, is far worst in this film.
Except for the atrocious "Born in a Trunk," this is an emotionally and visually mesmerizing film. Mason and Garland are stellar, as are most of the musical numbers especially the legendary "The Man That Got Away," a goose bump-inducing machine of a song. Cukor's use of color and the Cinemascope frame are just as remarkable. A flawed but emotionally intimate epic of Hollywood
Archetypal backstage melodrama blown up to the size of myth, the "omega of musicals," per Richard Brody. Cukor synthesizes 25 years of movie-musical history into an epic of emotional style, with the tragic, vulnerable Judy Garland at the center of it all. I particularly love the opening sequence, a kind of abstract overture that encapsulates the ambivalent fascination of Hollywood fame.
The first time I saw it, TCM UK was still in 4:3, and contradicted their American promises by showing a VHS print of the film. I didn't have a comfortable enough time watching it. Later they went widescreen and aired the film in its original format, letterboxes and all. And that's why pan-and-scanning a film made in the time CinemaScope began is the biggest mistake any movie channel could possibly made.