A Star is Born (1937) Film Essay Example

There is often an aim in the remake. People might revile a film's lack of originality and the tendency of bemoaning Hollywood to amble down same paths of creativity over and over again. However, a remake, in most cases, sits like a gauge of temperature that is implanted into cinematic history. The film "A Star is Born" is considered as a 1937 American romantic drama film that is Technicolor, directed by Wellman A. William from the script of Wellman, produced by Selznick O. David. Starring Janet Gaynor who was an aspiring actress of Hollywood and Fredric March who was a fading movie star that helped Gaynor launch her career. "A Star is Born" always considered as striking in its creation at the studio system's height; a time where most actors were substantially reduced to many products that were commercial and their contracts not giving them a chance in any autonomy in their careers (Denzin n.p).

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The film's place within the American film industry in the early sound and studio era was the warner bros studio which mainly consisted of a motion picture that had synchronized sound, or sound that was technologically coupled to the image as opposed to numerous silent films. Moreover, synchronization that was reliable was always hard to achieve with the early systems that were sound-on-disc, and the recording and amplification quality too was inadequate (Quirk n.p). Nevertheless, innovations in the sound on the film contributed and led to the first commercial screening of images that were in short motion using the technology that took place in 1923.

The film explores the fatalistic obsession of Hollywood with fame. It showcases that one conceived of stardom is the same as the deities on pedestals, such that when a person is knocked down, another person replaces them. In each version of the film, a male artist on the decline falls in love for a young woman who is talented, and only him can observe the real potential of the woman, then assists in guiding her career into the stratosphere. However, while the woman soars, the alcoholism of the man threatens to consume him entirely and therefore, there is a risk that the man will take the woman down with him (Balio n.p). The scenario is an irresistible tragedy to the storytellers of Hollywood such that it encompasses both the American dream idealism which changes the ordinary into the immortal and the Faustian bargain of fame. In other words, no success that is great comes without great tragedies.

Nonetheless, the film was made by numerous people for it to be a success. It was directed by William A. Wellman, produced by David O. Selznick, written by William A. Wellman, Robert Carson, Dorothy Parker, and Alan Campbell. Additionally, the music was played by Max Steiner, cinematography by W. Howard Greene, edited by James E. Newcom and Anson Stevenson, with Selznick International pictures being the production company then the United Artists became the distributors (Denzin n.p). The story in the film is most effective in meeting the barriers and problem of multiple locations and activities. No drama is seen until the marriage, halfway through, although the long opening narrative built of scenes that are very short and are often little more than anecdotes, each one that is a step the woman's climb, is supporting itself, as they are each of its parts. The writing of "A Star is Born" delightful, and the content of the comedy is surprisingly high that is similar and true to the real Hollywood that makes it fit into the studio's personality and style (Quirk n.p).

Additionally, the narrative that is behind the drama "A Star is Born" is among the most liked by Hollywood to tell every few decades. On-screen numerous changes are seen which reflect the period that we are in, but the story remains to be the same. The male protagonist showcases and elevates the career of his romantic interest that is always a struggle. The rise to fame of the woman, on the other hand, eclipses the ergo, star wattage of the man, exacerbating his bleak downward spiral (Quirk n.p). These incidences are considered as cautionary tales about fame having a love twist on the rocks which make for a trope the industry of the movie keeps coming back to.

Nonetheless, as the first iteration that is real of the film, the plot exemplifies numerous actions that mark future versions of the story. To the modern eyes, the gender politics of the film can be felt a little creepy, especially the scene in Esther's declaration as the film ends. Since her husband helped her in achieving successful goals and also acted in ways that unintentionally or intentionally would sabotage the successes, her dependence on him at the time would be frustrating (Denzin n.p). However, with the changing gender politics a little with every iteration, the gap in questions and age regarding women's and men's routes to fame would remain. Another aspect of the film that would be repeated in other future versions is always the female character's centrality, and perhaps, how the role was portrayed for an actress to breathe new life into her career. Norman is used as an example, so is Esther who is used as an icon and that becomes the reason why Janet Gaynor played her first (Balio n.p).

In making the film, various techniques were used, and the use of Technicolor is among them. The technicolor adds significantly to the production interest and value as the color is always kept subordinate. The color enriches without overwhelming. Also, the tints are effective and more controlled entirely than any of the previous color images. The soft tones in harmonies that are expressive also prevail as well as the solid blacks that are inevitable, that are capitalized for the pictorial value, probably in the opening episode of the nights in the woman's home town. The low-key photography matches the somberness of the situation with little apparent color with the mentality that it will miss the attention of many people. Moreover, the stars who are Fredric March and Janet Gaynor, showcase a brilliant portrayal (Simpson 640).

Conclusion

Gaynor turns out to be the sweet small-town Esther Blodgett who later joins the numerous studio gates, getting a chance of becoming the world's favorite. March, on the other hand, becomes the enormously successful Norman whose heavy drinking and numerous women have set him on the skids that are rarely reversible. Also, the drunken flamboyance of March portrays his struggles against his weakness and the courage of facing the supreme sacrifice for the sake of Janet. Thus, the main character is always made sympathetic, and every chord often rings true, despite the defacements of the surface (Quirk n.p).

Works Cited

Balio, Tino. United Artists, Volume 2, 1951-1978: The Company That Changed the Film Industry. Vol. 2. Univ of Wisconsin Press, 2009.

Denzin, Norman K. Hollywood shot by shot: Alcoholism in American cinema. Routledge, 2017.

Quirk, Lawrence J. The Films of Fredric March. New York: Citadel Press, 2011.

Simpson, Nicola. "Coming attractions: a comparative history of the Hollywood Studio System and the porn business." Historical Journal of Film, Radio and Television 24.4 (2014): 635-652.