to keep the tone persistent..
Cooper’s humble adaptation of the infamous love saga is pure passion cutting through all the hoax of unfiltered cinema, breathing perpetually a genuine emotion. This musical drama is created in a way to be relied upon each other, so that the musical acts won’t pause the ticking clock behind the screen. And clocking at around 136 minutes, it has so much to say with equally detailed version, that not only is the music a major character in here, but so is the editing (the editing was a borderline risk since it could have gone either way) in here. Cooper’s awareness on each scene (and mind you, there are plenty) is what boosts this too-much-mechanical material through which he keeps the crisp alive and the audience attentive towards it.
He is a real trickster as far as execution is concerned. His first act had the flamboyancy to drag the line without any essential stops but since the latter stages are mere series of various events, he shatters the entire first act into bits and pieces to keep the tone persistent. The strongest act of all has to be the background tale of Elliot and Cooper whose brotherhood conveys their entire trajectory of their character. Unfortunately, other side characters are left to be pawns where they hold on to their characteristics till the end.
Cooper’s portrayal of his three dimensional underdog character is jaggerdly on mark with tiny notions that he has brimmed his entire act that stays with you through his every now and then fumbles. Gaga gets to hit the last home run and she is surprisingly convincing in each frame on her portrayal of an uprising yet lost musician. The middle act of the feature is the real deal. It fiddles with emotions between these two lead characters in a way that allows you to put your shoes in both the characters and Cooper lets only the expressions speak volume at such moments.
The exchange of bittersweet opinions, the electrifying attraction, outstanding music, sharp sound effects, pragmatic conversations and thoroughly competent and layered dialogues, easily gives you the anticipated chills. The ruggedness of Cooper’s character and fame is somehow turned mythological and natural whilst Gaga’s is left efficient and pre-planned that makes it dry and numb. And it is that weighing down of the mixture of fame and art, that Cooper wants you to hold on to. His vision is so bizarrely fascinating that it is independent of the semantics.
The method isn’t safe but productive. Cooper’s last thoughts are narrowed down to such innocence within a snap, that it melts you down easily and not because of its manipulative nature but the peeling of the artwork that it does through hard work. Amidst all the uncouth language and darker themes projected unflinchingly in here, the relationships are immensely humble along with the words in the lyrics. A Star Is Born is the amalgamation of wider range allegory that analysis nature and emotions within a three minute song, listen to it, this isn’t a familiar tune.