In this article, we will be comparing the 1937, 1954, 1976, and 2018 versions of the story across various categories to see who was more successful at what. Then at the end, we will add up the score and declare a winner. Let’s begin by looking at our stars.

The Best Star Couple

This is definitely the hardest topic to make a decision on. Despite each film’s flaws, all the central couples have fantastic chemistry. To pick between the couples, therefore, it becomes a question of which duos work best together and do the characters work as well individually?

The 2018 couple have some beautiful moments, like how Jack turns Ally’s feelings about her nose into a cute display of affection between them. Lady Gaga is also terrific as Ally. Her great vocals make her musical numbers a joy to behold, and she does well pulling off her character’s vulnerability. That said, the movie focuses so much on Bradley Cooper’s Jack and them as a couple that we don’t get to know much about what makes Ally a true star. She has a great voice but as this franchise often shows, sometimes that isn’t enough. Some of the couple’s fights also feel too mean-spirited. Which can sour some on their relationship. Then there is Jack, who despite having a decent amount of back-story, feels like a typical cliché burned-out rock star. Which is disappointingly bland for a modern adaptation of this story. And Cooper’s mumbling performance quickly becomes irritating.

There is a marked improvement in the 1976 central couple. Barbara Streisand and Kris Kristofferson unlike Cooper and Gaga feel more like equals. Both get similar screen time devoted to them and both get musical numbers showcasing their star talent. Something the earlier films lacked. Streisand’s Esther is also a departure from many of the franchise’s female leads as she is very self-confident. Even getting out of her depression in the finale by herself without being pressured, like other leads. Making her a welcome change. Kristofferson also feels authentic as rock star John Norman Howard. But every improvement here brings a drawback. Despite feeling more like equals, some of this movie’s choices destroy John’s likeability, such as when he cheats on Esther. Streisand’s confidence and lack of background also makes her less relatable than other franchise leads. And regrettably, Kristofferson just doesn’t compare to the male stars in earlier adaptations.

The original 1937 film easily makes the audience warm to the stars. Thanks to the lead’s chemistry and how real it feels compared to the film’s superficial presentation of the rest of Hollywood. Janet Gaynor’s Esther feels very grounded and sympathetic. Her backstory of coming from a low-income home and how hard she works to break into the movie business instantly endears her to audiences. And Fredric March is on top form as Norman. He’s funny and likeable and seems genuine. However, the film does wind up focusing too much on March’s character by the end. Leaving Gaynor on the sidelines and making this partnership also feel unequal. It also doesn’t help that the film gives us very little to convince us of Esther’s supposed star talent.

Judy Garland and James Mason however are the best couple. They feel like a loving husband and wife, their similar time on-screen makes both feel equally important and despite their dark moments, they never feel malicious towards one another. Both actors also offer stellar performances. Judy Garland’s Esther mixes the finest qualities of all the franchise’s female leads. Like Gaga and Gaynor, Garland feels very human. Persevering through many dead-end jobs to keep her dream within reach. And like Streisand you can see what makes Garland’s Esther stand out, thanks to her musical performances across the narrative. But what elevates the character is Garland’s raw and impressive performance. She sings, dances, and runs the gamut of emotions, sometimes going from infectiously happy to emotionally distraught within the same scene, without it feeling overdone. Other leads may do some things mildly better, but Garland’s Esther is a genuine star. And despite the narrative not giving Mason’s Norman much to demonstrate why he’s famous, his performance is still great. His love for Esther feels incredibly sincere, he has impeccable comedic timing when it is called for and his drunken antics have a huge amount of pathos to them. Mason feels like someone truly self-destructive, but his performance makes him someone you truly want to see succeed. Ultimately both actors offer magnificent performances which greatly impact the audience and work well together and separately, making this couple the winner.

Winner: A Star is Born (1954)

The Best Supporting Cast

Conversely, this section is easy to select a winner for. As many of the movie’s focus, understandably, on nailing the central relationship over developing the supporting cast. Oliver Niles (Charles Bickford) and Danny McGuire (Tommy Noonan) in the 1954 version along with Bobby Ritchie (Gary Busey) in the 1976 version are notable. But they don’t make much of an impact compared to the leads.

The 2018 version is a step up. Characters like Ally’s endearing dad Lorenzo (Andrew Dice Clay), the deadpan funny ‘Noodles’ Stone (Dave Chapelle), Rafi Gavron‘s slimy executive, and Sam Elliott’s great emotional turn as Jack’s brother Bobby all stand out and give the movie more substance. 

But when compared to the number of stellar supporting characters in the 1937 movie nothing comes close. There is amoral publicist Libby (Lionel Stander), the initially dismissive but ultimately caring studio head Oliver Niles (Adolphe Menjou), the adorably kind assistant director Danny McGuire (Andy Devine), Esther’s fire-tongue grandmother Lettie Blodgett (May Robson), and even Esther’s landlord (Edgar Kennedy) is given enough to make him memorable. With many unforgettable supporting characters both big and small, the 1937 version takes the prize. 

Winner: A Star is Born (1937)

Which Movie Tells the Story the Best?

Now let’s examine A Star is Born’s story and see if we can say which film delivers it in the best way. The story across all the adaptations has very similar beats. A fading creative celebrity discovers an up-and-coming star by chance and is so impressed by them that they decide to help get them noticed. Upon doing so the up and comer eventually becomes a huge star and they decide to marry the fading celeb. Eventually, the new stars fame begins eclipsing the fading celeb, making them jealous and resulting in many spats. Then an outburst at an award show results in the celeb’s disgrace. They try to better themselves but something to do with the industry stops them. Eventually resulting in the fading celeb taking their own life to save the star’s reputation. Finally, after grieving the star returns to the spotlight in tribute to their partner.

In terms of who delivers the story the best, surprisingly, the 1976 version is the most well put together. Unlike the 1937 version, you get to see both leads perform some good music which helps us to buy both people as stars in their own right, rather than needing the movie to tell us. The film also gives equal focus to both journeys which doesn’t result in one being short-changed like in the 2018 version. And the conclusion feels a lot more satisfying than the 1954 version because it doesn’t result in the star becoming a monument to the fallen celeb, neither are they pressured to get over their death, instead of allowing the star to be her own person. While it does have some stumbling blocks, the 1976 version from a narrative perspective delivers the best version of this story. 

Winner: A Star is Born (1976)

The Best Music

Lastly, while this category excludes the 1937 entry, music and musical numbers have been an established part of this franchise since the 1954 movie. So it would be remiss not to discuss it here.

A Star is Born (1976) has some great tracks. Particularly the fun Queen Bee, Kristofferson’s rock anthem Watch Closely Now, and Streisand’s showstopping reprisal and upgrade of the song with the long mashup With One More Look At You/Watch Closely Now. With that said despite how nice the songs are, unlike other films in the franchise the music here doesn’t leave too much of a lasting impression.

Something which no one can say about the 2018 version. Of course, this version features the song Shallow, which has since become a hit in its own right thanks to Lady Gaga and Bradley Cooper’s delivery. It even managed to reach number one in the UK during the film’s release. And this version also features underrated songs such as Gaga’s cover of La Vie En Rose. But despite its highs a lot of the songs do end up falling into the background when compared to the iconic Shallow.

However while Shallow may be good it doesn’t beat the huge blowout numbers of the 1954 version. Such as the legendary Born in a Trunk, which mixes styles and moods in a way that should never work. But thanks to Judy Garland’s bravura singing it becomes a monumental triumph. There is also the poppy and uplifting Lose That Long Face, which never fails to make you smile. And there are catchy and joyous numbers like Someone at Last and Gotta Have Me Go With You. All of which will remain in your mind long after the credits role. With the sheer number of great tunes available within the 1954 version, it is the clear winner of the section.

Winner: A Star is Born (1954)

Overall Winner: A Star is Born (1954)

Final Thoughts

Many may take umbrage with the lack of love shown for A Star is Born (2018) in this article. But be assured the 2018 version is a solid adaptation of the story. With some good songs, an impressive lead performance from Lady Gaga, and a good supporting cast. It is just that when compared to other versions of the story it does feel underwhelming. 

The 1976 version is a good update of the story for the rock star era. It does lack relatability, but it makes up for that with some good music, fantastic chemistry from the two leads, and structurally the best telling of the story.

The original A Star is Born (1937) remains a well-made piece of classic Hollywood cinema. With iconic and engaging leads, an incredible supporting cast, and a fascinating story that has proven very enduring over the years.

But with astounding central performances from Judy Garland and James Mason, both of whom have electrifying chemistry, an epic scale, amazing musical numbers, and a story that while not perfect still manages to have a great emotional impact on the viewer, A Star is Born (1954) is the star of the franchise.

Also Read: Who Did It Better: Miracle on 34th Street

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Why now?

A Star is Born was released on October 5 and is in cinemas now – catch it while you can!

In a nutshell

Jackson Maine (Cooper) is a famous country singer with a severe alcohol and drug addiction. After a show in California, he stumbles across Ally (Gaga) performing at a drag bar. Blown away by her talent, Jackson invites her into his world in the music industry, where she quickly rises to fame as the two become romantically involved.

Who’s it for?

Anyone who’s a fan of music, Lady Gaga, or well-made movies should prioritise this one. It’s rated 15 in the UK – there’s fairly mild language and drug use, as well as some sexual scenes and brief nudity, so I wouldn’t advise bringing kids along. But for a 15 in today’s market, it’s pretty tame.

Who’s in it?

A Star is Born has a strong supporting cast (including Sam Elliot and his glorious moustache, which deserves a credit of its own) and features a few nice little cameos, but this is all about Bradley Cooper and Lady Gaga.

I can’t emphasise strongly enough how incredible these two lead actors are together in this film. Their chemistry is off the scale and their individual acting throughout the movie is of the highest quality.

I’ll admit that, before watching it, I wasn’t overly fussed on seeing Lady Gaga in a romantic drama featuring lots of country music. But her performance forced me to eat my words, my hat, my arm…anything that was remotely edible, in fact. She is unbelievable in this film, both in terms of her acting and, of course, her singing. The first time she truly breaks out the full power of her voice on stage in the movie, your jaw will hit the floor.

The same can be said of Bradley Cooper, whose own musical talents are on full display here. The opening scene, which features his character Jackson on stage, is absolutely electric, pulsating with energy and pounding rhythm. And as the more seasoned actor, his performance is impeccable.

Oh, and did I mention he directed it, too?

The good stuff

There’s very little to say about A Star is Born that isn’t good. It has a great (albeit rehashed) storyline, excellent acting, and is technically superb in terms of direction, cinematography and editing – all credit to Cooper, really.

For me, it felt like Lady Gaga set aside her controversial, OTT musical image and fully embraced her status as a genuine Hollywood actress – she’s almost unrecognisable in the opening scenes, though she becomes more Gaga-ish as the film progresses. I was pleasantly surprised/shocked by how good she was.

The film also features an extremely photogenic dog that stole a couple of key scenes – I found out afterwards that he actually belongs to Bradley Cooper in real life, too!

The not so good stuff

I struggled to fill this section this time. Unless you don’t like films about the music industry or you’re not into romance (or heavy subject matter like addiction and strained marriages), then you may not enjoy this movie. It’s also very emotional towards the end and quite a few people in our cinema screening were bawling in the final act. But if you can handle those things, you won’t have a problem.

The bottom line

A Star is Born is one of the best films I’ve seen in a long time. I tend to be very positive about most of the movies I see, but this one really knocked it out of the park. I would be flabbergasted if it doesn’t win (never mind be nominated for) Oscars in February.

Go see it now, and be prepared for something that sticks with you long after viewing.

Verdict: (5 / 5)

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The Story

Esther Blodgett (Janet Gaynor) is a small-town girl who dreams of becoming a movie star, much to the displeasure and ridicule of her family. Her grandmother, however, recognizes her dream and gives her the money to go to Hollywood. But she warns her that she will have to fight, struggle and have her heart broken before she can get what she wants. After a few months in Hollywood Esther has made little headway in achieving her dreams. However, when she meets ageing, alcoholic film star Norman Maine (Fredric March) at a party he takes a liking to her. Soon they begin to fall in love and he starts to help her become an actress. But while Esther’s (renamed Vicki Lester for publicity reasons) star is on the rise, Maine is on the way out. Can their love conquer the obstacles of fame, egos, and the movie business?

What did I like?

After remakes, retread’s, and its central themes of love, stardom and the sacrifices required for fame being picked to the bone by film culture, I was worried that the original film would be underwhelming by modern standards. However, the original A Star Is Born still holds up. The two major factor contributing to this are the writing and the performances.

A Star Is Born is a story anyone can relate to. Everyone at some point in their lives has had a dream and had people saying they can’t do it. This instantly puts us on Esther’s side, we want her to succeed and prove everyone wrong. From there we follow her as she struggles to get a foothold in the industry. We feel her frustration but also feel hopeful because she remains hopeful. However, dreaming just is not enough, thus enters Maine. Initially, like Esther, we are uneasy about his motivations but slowly we transition into his perspective and see that he is sincere. Because of this we really want them to get together and see how their story turns out. The masterful plot is reinforced by sharp dialogue that is alternately funny and heart-breaking, providing a dark peek into Tinseltown mentality. And it’s all bolstered by a brilliant cast.

Gaynor is engaging and sweet as the starry-eyed innocent who realizes that the world is not a Hollywood fairy tale. But March easily walks away with the film. He makes Maine easily likeable from the beginning with his wisecracking and general devil may care attitude and is able to infuse great melancholy and sadness into his later scenes. Ensuring that even when he does horrible things the audience never loses sympathy for him. Together both actors have great chemistry that makes their scenes crackle with romantic tension. There are also great supporting turns from Adolphe Menjou as the put-upon producer, May Robson as Esther’s grandma, who brings great weight and pathos to every scene she is in, Andy Devine is a laugh as Esther’s sole Hollywood friend and Lionel Stander oozes sleaze as the publicist meant to keep the public interested in the affairs of movie stars.

Along with this the technicolor photography really sets the film apart from other films of the time. It is not bright and colorful but muted and dark. Helping make the film feel more accurate to real life than a Hollywood dream like The Wizard of Oz.

What I did not like?

Despite the film’s prestige, there are still some things that hold it back. Even if they are relatively minor.

The script is filled with good material and is generally well structured. However, more screen time should have been given to elaborate on important details. The two major examples of this being the development of the pre-marriage relationship and the final climax. The central relationship is fun to watch but there is little transition time between them meeting and deciding to get married. And after the heart-breaking conclusion to the love story, Esther’s grandmother comes in and delivers a speech which while well-intentioned does seem a bit mean-spirited considering what has just happened. If the film had more time to breathe then the transitions would feel less jarring. Which may explain why all subsequent versions of the story are over two hours long.

The direction of the project is also serviceable but at times feels very stagey. Reams of dialogue are used to explain what could have been told in one shot. Often times this also trips over into the characters talking about their feelings rather than showing them. And although the actors give it their all, sometimes this makes exchanges come across as clunky.

Finally, while Esther is relatable, she loses her agency and independence once she becomes romantically involved as everything is subsequently done for her. She has no say in her image, only cares about how Maine feels and is not even allowed to grieve for her husband by moving away. She just becomes a supporter and extension of Maine’s character even revoking her own name in favor of Mrs. Norman Maine. Which may be disappointing to modern viewers.

Bottom Line

While the film needed a longer runtime to develop certain plot elements, as well as a more disciplined use of dialogue and the gender politics of the time may be a little off-putting to today’s audiences, A Star Is Born 1937 still stands as a testament to good, heartfelt storytelling, and excellent performances.

And as the enduring legacy of the film proves every generation’s stories helps to fuel the next. Every generation experiences love, loss, heartbreak, and hope on the way to their dreams. And every generation has their version of this story to tell.

Verdict: (3.5 / 5)

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