A superb piece of classical Hollywood craftsmanship, William A. Wellman’s A Star is Born represents one of the sturdiest movie biz entertainments out there. Remade into the sublime George Cukor-directed, Judy Garland-starring musical in 1954 and the somewhat less-regarded Barbra Streisand vehicle two decades later, A Star is Born is on the remake radar yet again, with the proposed Clint Eastwood/Beyoncé pairing hardly sounding promising. Beyond strict remakes, some of the DNA of A Star is Born is present in nearly every film about Hollywood, and though Wellman’s film was hardly the originator, it’s a pretty perfect encapsulation of the wish fulfillment/heartbreak engine that drives films about show business dreams.
The delicate, enchanting Janet Gaynor stars as Esther Blodgett, a farm girl in North Dakota obsessed with the movies. Enabled by a gift from her grandmother (May Robson) to try her luck in Hollywood, she sets out to become a famous actress. But upon arriving she finds that even work as an extra is hard to come by, and her chances of making it on the big screen are essentially nonexistent.
Discouraged, she strikes up a friendship with similarly unemployed assistant director Danny McGuire (Andy Devine), whose few industry connections help land Esther her first gig — as a waitress at a wrap party. But an encounter with a charmed Norman Maine (Fredric March), one of Esther’s screen idols, sets her on the path to stardom. A simple camera test and a one-line part soon give way to a starring role opposite Maine, and Esther — rebranded as Vicki Lester, a wholesome girl next door type — becomes a star nearly overnight. But the euphoria of silver screen success is fleeting.
One of the greatest strengths of A Star is Born is it doesn’t play strictly as a cautionary tale. While Esther undergoes a significant, mythologizing makeover to be considered an adequate celebrity, she isn’t obviously fundamentally changed. Rather, the opposite side of her success is played out by Norman, whose career is crumbling thanks to changing tastes and his never-quite-conquered alcoholism. As a romance between Esther and Norman blossoms, his stardom evaporates while her popularity soars through the roof.
As the film comes to a close, Esther’s choices are never viewed cynically and she’s ostensibly still on top. But the implications — fame is fleeting at best and a destructive force at worst — hauntingly permeate the romantic and emotional text of the film.
The Blu-ray Disc
Sourced from an original 35mm nitrate print preserved by the George Eastman House, A Star is Born is presented here in 1080p high definition in its original 1.33:1 aspect ratio. The film has long languished in the public domain, and it’s quickly obvious from the transfer that good elements for the film are hard to come by. No doubt this presents an improvement over the many cheapo PD discs, but significant print degradation causes the film to look like it’s being viewed through cheesecloth throughout. The original Technicolor stock hasn’t been preserved too well, as colors are often too muted or sickly and unnatural. Fortunately, Kino’s transfer here is watchable throughout, and a delicate hand hasn’t burdened the film with any further distracting obvious digital manipulation. Sadly, unless better elements are discovered, this might be as good as it gets.
The mono audio fares pretty well, with slight hiss and crackle not obscuring the dialogue, which is somewhat hollow but certainly clear enough.
A very brief silent wardrobe test features no recognizable faces. The theatrical trailer and trailers for a couple other Kino releases are included, along with a gallery of poster art and production stills.
The Bottom Line
Don’t expect to be wowed by the transfer, but the film itself is a completely different story.