Gaga over Gaga

This version of A Star Is Born, starring Bradley Cooper and Lady Gaga, is the fourth iteration (Janet Gaynor and Frederic March, 1937; Judy Garland and James Mason, 1954; Barbra Streisand and Kris Kristofferson, 1976). So it’s a remake of a remake of a remake and overly familiar, you would think. Oh God, not another fella who can’t take it when her career eclipses his, boo hoo. Would a reboot with the genders flipped but the age gap preserved ever get made? Not a hope, is the short answer. But, but, but… I did cry, and Lady Gaga is truly sensational, fabulous, a revelation. I had no idea. Cooper directs, and also co-wrote, but it is her film, and one must hope that he can suck that up. Bradley, don’t go and do anything stupid, you hear?

This remake of a remake of a remake opens with Jackson Maine (Cooper) on stage and performing to a mighty, swaying, adoring crowd as he plays guitar and sings. (All the songs were written mostly by either Cooper or Gaga and are performed live.) He is a rock star even though his voice sounds weary, and he appears weary, and he rarely makes eye contact and hangs his head, wearily. He also keeps reaching for the vodka bottle — he doesn’t like himself much, clearly. He is sad, clearly — but heading away from the venue in his limo he realises he’s out of booze, so asks his driver to stop at a bar.

It’s a drag bar where Ally (Gaga) happens to be appearing. She waits tables by day but sings by night. She belts out Piaf’s ‘La Vie En Rose’, and it’s a barnstorming rendition.