THE formula for “A Star is Born” is one that has created magic in Hollywood three times before its present incarnation. The film was first made with Janet Gaynor in the title role, followed by Judy Garland as the titular star, and then Barbra Streisand later. There was even a Bollywood film (“Aashiqui 2”) with a plotline remarkably similar to the formula eschewed in this string of Hollywood films that are all essentially telling and retelling the same story, but always in a different way, designed to cater to the people of the time period in which it is set. Therefore, the Judy Garland version released in the 1950s is heavily a musical that came off of the Janet Gaynor version (released earlier in 1937), which was not a musical and focused instead on the titular star being an actor instead of a musician. The 70s version was set in the rock and roll scene, while 2018’s incarnation which stars Lady Gaga in her first lead role in a feature film, is set in the modern day world of pop stars, Grammy awards, and celebrities who go on world tours and do embarrassing things at award shows.

Our generation’s “A Star is Born” is as good as any of the others that came before and this, somewhat surprisingly, is due in part to the strong lead performance of Lady Gaga. I say that her performance is surprising simply because I do not think that anyone expected her to do so well. Sure, Gaga had already won a Golden Globe for her wonderful lead

performance in “American Horror Story: Hotel,” but that character, a villainous, vampy, vampire was so full of camp that the entire performance, excellent as it was, felt somewhat easy given that throughout her illustrious career, Lady Gaga had always entertained her fans with various versions of her own campy, theatrical, over-the-top persona, costumes and artistry – whether it be in her music videos or on the red carpet at an awards ceremony.

Lady Gaga in “A Star is Born,” played a character that must have been much more difficult to essay simply because the actress, starting off as a singer herself, could have relied too heavily on her backstory and veered the character into territory where Gaga would have shone through rather than the character in “A Star is Born.”

A lot of this, of course, has to do with Bradley Cooper, sitting in the director’s chair for the first time and playing the leading man opposite Gaga – two roles that he relays meaningfully and tactfully throughout the entire film.

Even though there are times when Cooper is so good onscreen that he steals the spotlight from his co-star, which in some sort of metaphysical way is the opposite of what the film is about (a female star stealing the limelight from her fading male partner), Lady Gaga always manages to drag our attention back to her. Her performance is so good, so honest, so revelatory in its simplicity, that for many days after watching the film, you will find yourself thinking about the fact that the “Rah Rah Bitch” who brought Millenials everything from a meat dress to a blatant disregard for societal norms, to a universal underdog anthem in “Born this Way” and a whole new wave of sexual awakening, is the very same woman who appears in “A Star is Born,” without much make up on, flawlessly playing a waitress, a simple girl with big dreams, a girl socially conscious about her looks but

believing in her skills nevertheless, working hard, singing in a gay bar, trying to get her art out there into the world. The girl’s name is Ally, and Lady Gaga does such a good job in this role, portraying her growth from waitress to YouTube sensation to pop star to a wife and then a woman finally granted a spotlight that is all her own, empty of the shadows cast by Bradley Cooper’s ageing, alcoholic crooner, Jackson Maine.

Gaga displays great tact in each phase of her character’s life, bringing that kind of funny verve to her waitress bit that instantly makes the audience want to be her friend. Gaga as Ally, as a girl caught up in a whirlwind romance with a celebrity, is every one of us being granted that rare wish that makes all of our other wishes come through. Her wide eyes and fear being replaced with disbelief and then confidence as the narrative moves along is

everything. When Ally is embarrassed at the awards ceremony, Gaga does not overplay the moment, choosing instead to let the horror of what is happening sink into the audience by using rigidity in her body in a moment that another actress might have chosen to play wild.

Gaga presents us with horror and shame that expresses itself through the body language that only true horror and shame can bring. The bathtub scene is the one that might get her the Oscar nomination for Best Actress, however. In this scene we see Ally retaliate for the first time, lashing out, but not only in defence. She goes for the kill. She spews venom, the rage coalescing in her eyes and face as she snaps with the anger that cleverly masks a great deal of pain. It is a remarkable scene, one of many glorious moments that deservedly makes Lady Gaga one of the contenders to watch out for in the 2019 awards season.
Of course, there are many other amazing things in the film besides the lead actress’

performance. Bradley Cooper is just as good as (some might even say better than) Lady Gaga. He is sure to pick up a slew of Best Actor nominations next year and he deserves all of them. The scene where Jackson apologises to Ally will make you tear up in the theatres and it’s all because of Cooper’s bringing to life of his character, a process when played out on screen is at once extremely realistic, charming, sweet, sorrowful, and sometimes scary. Sam Elliot, as well as drag superstars, Shangela and Willam, also turn in strong performances.

The music is divine and will sweep you up and transport you to another world when Ally and Jackson fall in love. It heaves you into misery when the splinters arise in their relationship, and it caresses you in those moments when the star-crossed duo find their way back to each other again. The film is simply remarkable and the story has not lost any of its beauty, essence, relevance, or melodrama, even as it is played out before the world’s eyes for a fourth time.