TCM Pick O’ The Day: Thursday, January 22nd
by John Nolte
6:45pm PST – A Star Is Born (1937) – A fading matinee idol marries the young beginner he’s shepherded to stardom. Cast: Janet Gaynor, Fredric March, Adolphe Menjou, May Robson Dir: William A. Wellman C-111 mins, TV-G
While few films top the marvelous Judy Garland musical update of this classic, cautionary Hollywood tale, this version (itself a sort-of remake of George Cukor’s1932 “What Price Hollywood?” – Cukor would direct the Garland version, as well) offers up a memorable, heartbreaking performance from Fredric March as the sad and sodden Norman Maine, a has-been movie star living in the shadow of his famous wife. Lionel Stander also blazes through his scenes as a ruthless studio press-hack who inadvertently brings ruin to those around him all in the name of doing his job of creating movie stars and keeping them movie stars.
Hollywood has always been interested in films about itself, but unlike many (not all) of the self-referential films released today, ”A Star Is Born” doesn’t romanticize or glorify those tragic and self-destructive elements that have been around since the idea of celebrity was born. That doesn’t mean the glamorous aspects of the film industry are repressed, but that there’s a realistic balance provided mainly through Adolph Menjou’s interesting and complicated character.
Produced by David O. Selznick, directed by William Wellman, scored by Max Steiner, shot in Technicolor and all wrapped in a screenplay touched by the likes of Budd Schulberg, Ben Hecht, and Ring Lardner Jr., this was quite the event film of its day and seventy years on holds up perfectly. Compelling from start to finish.
Thankfully, TCM has a pretty good print of “A Star Is Born,” much better than the public domain DVDs that have been floating around in various forms for a decade.
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9 Comments
Nolte’s Picks o’ the Day is one of my favorite Big Hollywood features. It’s terrific that someone is still paying tribute to the old movies that made Hollywood what it was…and, sadly, no longer is.
I prefer this version to the 1954 remake, because it seems to be about Hollywood while the latter (also excellent) is about “fame”. In that spirit, this one is full of inside and veiled references (eg., the mobbing of the widow is said to be what happened to Norma Shearer at Thalberg’s funeral) that make the whole story seem more “real.”
I just got the dreaded ‘posting too quickly error’ so I’ll try again, I have this on DVD and I enjoyed watching it recently.
Because I know so little about film, or film history, I will add that I believe this film was based upon Herman Wouk’s “Marjorie Morningstar”.
To make my comment even less worthy, I will add: Frederic March? That guy looks like the young character from “Spin City”.
I will cease sullying this thread, now.
Cukor vs. Wellman vs. Cukor – You really can’t go wrong with two of the greatest American directors. I’ve always been partial to the 1954 version since Garland threw everything she had into the film and showed Hollywood she still had it. As much as I like Grace Kelly her performance in The Country Girl pales next to Judy’s. There is no way it was harder to take care of the alcoholic Bing than it was the alcoholic Mason.
But I’ve always liked March over Mason – maybe because the lack of music makes his performance more focused. He might have won the Oscar for Best Years but his performance here is easily better.
The problem with watching Mason is that it is hard to really believe he or anyone else could have been a bigger star than Judy. With March & Gaynor the dynamics of the relationship are easier to work with.
Lionel Stander as the publicist turns in another great supporting performance that you always seem to find in the movies from the ’30’s.
And I think it is safe to say that every version is better than the 1976 poor poor pitiful Barbra version. I had a girlfriend back then that thought it was the greatest movie since Gone With The Wind and I beat my head against a wall before it was just Kristofferson she cared about. Since I knew i would never look like him the relationship ended shortly thereafter. Good riddance.
Pedant on/
Wouk’s ‘Marjorie Morningstar” wasn’t published until the 1950’s, so that lets it out of the running.
/Pedant off
I was kind of hoping “How to Murder Your Wife” would be POTD, but this is great, too. Gaynor and Garland, unlike Streisand, were both the appealing actresses this part demands.
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