A Star is Born (1954)

PBS aired it last year and I watched it. They aired the version with stills from those deleted scenes with the audio... was interesting

Which is the best version of ASIB, the one with Judy, Barbara, or Gaga?

Is this one worth watching?

I saw the Showtime special "Sid and Judy," and they made it seem like this version was a BUST.

R2, this one is by far the best - musically, dramatically and in the pathos mirroring Judy’s own through Mason’s character. It has its flaws but not as deep or visible as the others. It’s not the original version though.

I'm the sailor that Raymond Burr picked up and took to the premiere in Hollywood!

Judy was one of the most talented singers ever. She also had a lot of pain and struggle throughout her life. Despite that, she had a good heart, which is hard to encounter in Hollywood. At a time when gay people were oppressed beyond belief, they identified with her struggles and she theirs.

Not sure I can watch it again. Seen it so many times. The crying scene seems like it goes on forever. The asking for air through tears gets tired after a dozen times.

She should have gotten an Oscar for "The Man That Got Alone" alone.

She was robbed of that Oscar.

[quote] She should have gotten an Oscar for "The Man That Got Alone" alone.

She would have had the song had the grammatically correct “who” instead of “that” in its title.

R7 and R8, who won that year?

If you really believed that, R5, you would change your insulting screen name, which only contributes to the image of Garland as a pill-popping no-talent better off forgotten, not an artist on the level of Sinatra or Picasso or Callas.

YOU and YOUR NAME are part of the problem, R5.

R10 Grace Kelly for The Country Girl

Should have been Judy or Dorothy Dandridge

Thank you, R12.

I think EVERYONE ON EARTH should have a working knowledge of Judy's "A Star is Born".

It is an endlessly discussable film.

It's also...endless....Discuss!

Ha ha! I'll say!

I don't thnk the restored version with the stills/audio works very well. Those sequences stop the movie in its tracks for me, although I understand the historical interest.

Ben Mankiewicz just mentioned DL faves Lorna and Joey Luft.

Watching...

For the bazillionth time. When TMTGA is on, someone wake me.

R18, TMTGA is starting.

Here we go! Go girl!

Judy deserved some kind of award for this performance. She looks like five different people at least. All at different weights, bloat, alertness and levels of hysteria. From appealing to long past frump. The film itself is garish.

[quote] The film itself is garish.

Fuck you, R21.

Without a doubt, the best of the "ASIB" movies. Unlike the earlier version, you can easily see why Esther/Vicki becomes a big star. Judy is fantastic, but Mason is wonderful too, especially in those scenes at the Oscars and when he overhears his wife talking about giving up her career for him. Great as he is, I often wonder how the film would've turned out with first choice Cary Grant as Norman Maine.

The best song Oscar was not given to "The Man That Got Away"; it was awarded to..."Three Coins In The Fountain", a song that is remembered by virtually no one. Remember in "Planes, Trains, and Automobiles" where John Candy asks Steve Martin if he knows a song (he's trying to start a sing-a-long to make the bus ride more fun)? Martin starts singing "Three Coins in A Fountain" and there is an awkward silence until Candy starts singing The Flintstones theme song, which of course everybody knows and starts singing.

Hollywood hated Judy because she must have been terrible. No one was more professionally shunned. She couldn't even win a best song oscar. What a fucking mess. It's that terrible vibrato.

How would have Judy’s career and life been different had she won the Oscar for A Star is Born?

"No more that all time thrill, 'cause you've been through the mill..."

I don't think the Oscar would have done anything for Judy's career aside from a few more roles. I just don't think they were willing to put up with all her struggles.

Judy's Oscar lost was truly pathetic. She was in the hospital after having little Joey (who was in serious condition because of a collapsed lung). It was thought that she was a "lead pipe cinch" to win the Oscar, so a camera crew was set up in her hospital room, so when she was announced as the winner she could give her acceptance speech from her bed. She was all wired up and ready to give her speech; the winner was announced and it was...Grace Kelly. At that, the camera crew immediately started dismantling their equipment and removing Judy's wires. What a dismal scene that must have been.

[quote] She was in the hospital after having little Joey (who was in serious condition because of a collapsed lung).

“Collapsed lung” = fetal alcohol syndrome

I'm sure Judy made some good cracks about losing.

I saw the Barbra Streisand version of A Star Is Born ad it was one of the worst movies I have ever seen in my life - including her Harpo Marx hairdo. You'd have to pay me to see it again. Awful!!

Judy Garland should have won the Oscar for A Star Is Born - one of her all time greats and the best of the 'Star' movies.

Larry King will jusht love Lady Gaga!

That's not the fucking point R28!

Jack Carson as Libby is great. He doesn't get the appreciation he deserves. The man could do any kind of role - comedy, musicals, noir - and do it well.

Funny thing about Carson. He might not be the 'idol' Mason was, but he could have acted the role better. Mason is too string - you cannot believe he's a has-been drunk.

[quote] Ben Mankiewicz just mentioned DL faves Lorna and Joey Luft.

Did he mention the number cut from the score, "I Like Blue (And The Shapes That Aren't Circles)?"

[quote]PBS aired it last year and I watched it. They aired the version with stills from those deleted scenes with the audio... was interesting

That's the only version that has been available for telecast or screening in theaters since the restoration was released. Any copies of the cut version that still exist would look like crap, because they would be unrestored.

[quote]Judy deserved some kind of award for this performance. She looks like five different people at least.

Yes, and have you noticed that her hair style changes about four times during the opening scenes, even though they're all supposed to take place during one long night?

[quote]Mason is too string - you cannot believe he's a has-been drunk.

I have never heard anyone but you express that opinion. He is superb in the role.

I think it is too much of a good thing -- it's like a hot fudge sundae with marshmallow sauce and strawberries and bananas and peanut butter and sprinkles and whip cream and a cherry on top...

It's delicious for quite a few spoonfuls, but then, oh my goodness. Does it ever end?

That said, certain scenes are almost compulsively re-watchable, such as the opening number at the Pantages theater, (You Gotta Have Me Go With You) and of course The Man that Got Away. One of the most interesting parts of the Sid and Judy documentary was the numerous costume changes and re-staging of that song, each one just as fascinating as the one before it.

Not to take away from Judy but one thing I have noticed watching the last three versions is how good Mason, Kristofferson and Cooper are in their respective versions. The women have the showier roles but they each bring a quiet dignity to their performances.

I'm surprised that no one has mentioned the first version of "A Star is Born" (1937), which starred Janet Gaynor and Fredric March. That one has always been my favorite, much as I admire Judy. Fredric March was by far the best Norman Maine. His performance breaks my heart every time. May Robson is an absolute delight as Granny, Lionel Stander was the perfect Libby and a young Andy Devine is fun to watch as Esther's best pal.

What's ironic about the 1937 version is that what was happening in the real-life careers of the stars was just the opposite of the characters they played on screen. Gaynor, who had been an important leading lady in silent films, was nearing the end of her career, while March had many years of stardom still in front of him.

Unfortunately most prints of this film are not in great shape because it fell into public domain, but if you can find a decent transfer and don't expect it to look like Blu-Ray, it's a film well worth seeking out.

r25 The Best Song Oscar goes to the person (or persons) who WROTE the song, not the one who sang it.

[quote] I'm surprised that no one has mentioned the first version of "A Star is Born" (1937),

R42, both R3 and R23 did.

[quote] Judy deserved some kind of award for this performance. She looks like five different people at least. All at different weights, bloat, alertness and levels of hysteria.

This was actually addressed in "Sid and Judy."

I believe there were some financing issues with the movie, as well as countless other problems, and so it actually took TWO YEARS to complete the filming.

During that time, Judy's weight fluctuated greatly, which is why she looks so different throughout the movie.

I wrote a paper on this movie at university.

I claimed to be straight at the time.

r43 Why are you addressing that to R42?

[quote] I wrote a paper on this movie at university.

[quote] I claimed to be straight at the time.

That's funny.

Bradley Cooper was actually IN the movie, and he claimed to be straight at the time, too!

About a decade ago I saw this movie at the Walter Reade in Lincoln Center. Seeing it on the big screen, with that lush, beautiful overture in glorious stereophonic sound enveloping you is how movies like this should be seen.

I hope this pandemic isn't the death knell for revivals and retrospectives.

If you're interested in reading more about the subject, I highly recommend Ronald Haver's book, 'A Star Is Born: The Making of the 1954 Movie and Its 1983 Restoration'

[quote] R43 Why are you addressing that to R42?

Oops! I meant that to be R41.

[quote]What's ironic about the 1937 version is that what was happening in the real-life careers of the stars was just the opposite of the characters they played on screen. Gaynor, who had been an important leading lady in silent films, was nearing the end of her career, while March had many years of stardom still in front of him. Unfortunately most prints of this film are not in great shape because it fell into public domain, but if you can find a decent transfer and don't expect it to look like Blu-Ray, it's a film well worth seeking out.

As you may know, the film was beautifully restored years ago, but sadly, that version has never been released to home video in any format, for some reason. I guess it may have to do with the weird rights issues for the movie. I know it was in public domain for years, not sure if that's still the case or if someone somehow bought it back. It does seem odd that someone went to the expense of restoring it without making sure they could release it on home video. Somewhere, I do have a DVD of an unrestored print, and though it's not perfect, it does have excellent color.

[quote] She was in the hospital after having little Joey

Mama said I was born in a truck!

Even before the Janet Gaynor/Fredric March version from 1937, there was a 1932 movie called What Price Hollywood, directed by George Cukor, that had a little bit of a similarity in plot, although it goes in a different direction.

It's about a Hollywood hopeful who serves drinks to famous director & he offers her a bit part in his new film. She becomes an overnight star, but after she marries a polo player who has no interest in the movie business, the director feels betrayed and descends into an alcoholic depression.

Tidbit from Wikipedia:

Four years after [What Price Hollywood?] was released, Selznick approached Cukor and asked him to direct the 1937 version of A Star Is Born starring Janet Gaynor and Frederic March. The plot was so similar to What Price Hollywood? that Cukor declined.

RKO executives considered filing a plagiarism suit against Selznick International Pictures because of the obvious similarities in the story, but eventually opted not to take any legal action.

Cuckoo went on to direct the 1954 musical version of A Star is Born, starring Judy Garland and James Mason.

After the past year, when I see Judy Garland all I see is a crazy person.

R41, have to disagree about Lionel Stander being the perfect Libby. He and Jack Carson have almost the same dialogue, but Stander often plays it for laughs, while Carson captures the bitterness of having to play the stooge to an egotistical star.

R41, have to disagree about Lionel Stander being the perfect Libby. He and Jack Carson have almost the same dialogue, but Stander often plays it for laughs, while Carson captures the bitterness of having to play the stooge to an egotistical star.

[quote]Which is the best version of ASIB, the one with Judy, Barbara, or Gaga?

You can leave your gay card on the credenza by the door on your way out.

R56, I see what you mean, but I've always liked Stander's version best. He was funny but he could also be quite nasty, especially in the scene at the racetrack. I guess I'm so used to seeing Jack Carson in affable, nice guy roles that it's hard to believe him as a villain. I also think that Fredric March was more believable as a matinee idol than James Mason. This is no reflection on him as the fine actor he was, but the British accent always bothered me, He doesn't come across as the great lover type, and I didn't feel much chemistry between him and Judy.

I think what makes Jack Carson so good is that he's not a villian. He's treated horribly by Mason and it's understandable that he enjoys his revenge. We, the audience, see the other side of Mason, but he doesn't. He only see the self absorbed drunk.

[quote]Four years after [What Price Hollywood?] was released, Selznick approached Cukor and asked him to direct the 1937 version of A Star Is Born starring Janet Gaynor and Frederic March. The plot was so similar to What Price Hollywood? that Cukor declined.

From your description, it sounds to me like the similarities are not great enough to warrant any kind of legal action -- although, in the '37 A STAR IS BORN, after Esther's initial encounter with Norman when he's drunk at the Hollywood Bowl, she then encounters him again and they actually meet when she serves him and others while she's working as a cater waitress at a Hollywood party.

[quote]I think what makes Jack Carson so good is that he's not a villian. He's treated horribly by Mason and it's understandable that he enjoys his revenge. We, the audience, see the other side of Mason, but he doesn't. He only sees the self absorbed drunk.

Agreed, it's an excellent performance. I like Lionel Stander's performance as well, but it's a very different take on what's basically the same character.

Nice to see the Jack Carson love here. A funny Warners in-joke is IT'S A GREAT FEELING, where Carson (playing himself) is loathed by every actor on the Warners lot and nobody wants to work with him. In reality, Carson was a Warners favorite and everyone loved working with him.. He helped Doris Day through her debut in ROMANCE ON THE HIGH SEAS which sparked an affair. It speaks well of both of them that after it ended they remained life-long friends.

Does anyone know why MGM refused to give Roger Edens credit for the "Born In a Trunk" sequence which was credited to Leonard Gershe? Or was Eden's work done without MGM's knowledge?

The full 15 min Born In A Trunk medley is truly great

the latter r61. Edens couldn't take a credit on a Warner Bros film. I wonder why the DVD and Blu-Ray haven't incorporated the additional scraps of footage that've been found since the Haver restoration?

Starting with "When My Sugar" in Born in a Trunk.

Lorna's book about the film is pretty good. She says if her folks hadn't gone on vacation after the premiere, maybe they'd have gotten to do the recut, more thoughtfully, instead of the studio just hacking at the film. But they wanted their vacay.

r61 Well not EVERYONE loved Jack Carson.

Joan in 3-strip TECHNICOLOR - before TORCH SONG!

It's a Great Feeling is such a good movie, sly and knowing, but not too critical, just enough sass to make it fun

What Price Hollywood was a pre-code film that was inspired by the story of actress Colleen More and her alcoholic husband as well that of a real-life director who committed suicide after a nervous breakdown. It's much more similar in tone and feeling to A Star Is Born than the brief but accurate description above would suggest.

^ I meant to say "much more similar in tone, feeling and small details to A Star Is Born than the accurate but brief description above would suggest."

Judy looks too old, haggard and blowsy to be playing someone just starting out in the business. She looks like an alcoholic middle-aged frump who was made redundant at the brothel she worked in because none of the tricks wanted this messy whore. Her appearance makes the plot completely unbelievable.

I never thought Judy's Esther was "just starting out in show business." I think she'd knocked around for a long time, but it took Norman Maine to make people really take notice of her and realize her full potential. I never thought her Esther was supposed to be an ingenue; how could she be, looking like THAT? In the movie she always looked at least in her thirties, in some scenes older than that.

Judy first started showing her age after her serious breakdown in 1947--she's skinny but haggard in Easter Parade and looked healthy but matronly by the time she made Summer Stock (except for the final scene which was shot after she'd had a vacation and been on a diet). In ASiB she was haggard AND plump, and the combination made her look 40, easily. She was still our talented Judy, but a believable ingenue she was not.

If they wanted to cast a haggard and blowsy looking matron like Garland they should have made it a gender-reversed version, sort of like a musical version of "Sunset Blvd". Garland plays an over-the-hill has-been spots a talented young man trying to break into showbiz and takes him as a lover. She foolishly starts to fall in love with him and deludes herself into thinking that her feelings are reciprocated.

When she discovers that he's been cheating on her with a young woman her alcohol and pill addiction gets worse, and she decides that she can make him stay with her if only she can somehow give him a baby. Eventually she misses a period and is overjoyed at the prospect of being a mother as she starts dreaming about her wedding and motherhood aiding her return to stardom.

However it turns out that she isn't pregnant. Instead, it's menopause. Shattered by the realisation that she can never trap him into staying with her she has a breakdown and descends into madness. She kidnaps a little girl (played by Liza) from the child's home and is seen walking into the ocean with the girl as she croaks out, "Baby Mine".

She would have been far more believable in a ludicrous plot like that than the nonsense that was ASIB. Even if not an ingenue the character at least needs to be plausible as someone still fresh enough to be thrilled at the prospect of newfound stardom, not someone who looks like she guzzles vodka and smokes three packs a day.

R72, that’s actually quite a good plot even for a movie now. That plot may have hit too close to home for Judy though.

Judy Garland, like so many addicts never displayed much insight into her behaviors. She certainly never thought of herself as an addict. Just problems with "medication." This doesn't mean she might not be triggered by stories too close to home, but she would most likely chase that feeling away with self deprecation or the usual escapes.

It's extra painful to see what you've done to yourself. No account of her life suggests that she ever made that connection. Her life story is very sad, but she can't really be called a victim. She had every opportunity to get better or die.

She was an addict for most of her life. She could never get off medication. There was never any possibility of getting better no matter how much she tried. She was a victim though not of any individual.

" There was never any possibility of getting better no matter how much she tried. "

Here's the thing: she NEVER TRIED. She'd go to doctors. She spent time in sanitariums. But she never TRIED to stay off drugs. On a tape she made for an autobiography that never happened she ranted (she was either drunk or stoned) about the :"stupid ones' who called her a drug addict. "Well, it's a wonder I'm not!", she raved. She would never even admit to being an addict. No one who can't even admit they have a problem is ever going to recover from addiction.

Like I said on the "... if they hadn't died young" thread, if Judy hadn't died when she did, she would have died soon after. She was one of the ones who never really tried to make a go of life without drugs and alcohol.

Some people just can't look reality in the face.

The '30s version of Star is Born is to its '50s version as the '30s version of Imitation of Life is to its '50s version....

R78, I agree completely. Good analogy!

Much of the screenplay of the 1954 A Star is Born is word-for-word from the 1937 version.

I prefer the 1930s version of "Imitation of Life" to the overwrought Lana Turner remake. The original was more stark and it made Peola's thoughtless, selfish disowning of her mother all the more cruel.

[quote]Much of the screenplay of the 1954 A Star is Born is word-for-word from the 1937 version.

Depends on how you define "much." There are several chunks of Moss Hart's script that are word-for-word from the previous one, but also a lot that was cut -- including all of that stuff with the grandmother and the Andy Devine character, other than a line or two that were handed to others -- and A WHOLE LOT that was added, as the Garland movie is SO MUCH longer than the Gaynor.

[quote]The '30s version of Star is Born is to its '50s version as the '30s version of Imitation of Life is to its '50s version....

OK, now do the '30s version of "The Women" with the '50s version ("The Opposite Sex") or the 2000's version.

Or just have a June Allyson remake festival and include her remakes of It Happened One Night and My Man Godfrey from around the same time as The Opposite Sex/The Women along with it.