A STAR IS BORN

US, 1937, 111 minutes, Colour.
Janet Gaynor, Fredric March, Adolphe Menjou, Lionel Stander, Andy Devine, May Robson, Owen Moore, Franklin Pangborn.
Directed by William A. Wellman.

A Star Is Born, directed by William Wellman is the first of three versions of this film. There was a previous film, What Price Hollywood, directed by George Cukor in 1932 which had something of the same plot and was said to be based on the careers of silent stars Marguerite de la Motte and John Bowers. The 1937 version was said to have thrown a lot of light on the Hollywood of the '30s. The film is very impressive as Hollywood drama of the '30s and was filmed in colour with a strong screenplay. Fredric March, who had already won an Oscar for his Dr. Jekyll and Mr. Hyde in 1932, is very good as Norman Maine and Janet Gaynor, also an Oscar winner, is Esther Blodgett and plays her with great charm and strength. The supporting cast is also very good. The film was produced by David Selznick and was nominated for several Oscars.

The next version was the musical version with Judy Garland and James Mason and was directed by George Cukor.

The plot was adapted from Hollywood to the rock music scene of the '70s for the Barbra Streisand-Kris? Kristofferson version. This followed the plot in outline although it changed the name of the characters slightly. It was popular but did not receive critical acclaim.

1. The archetypal Hollywood story and its basic interest and appeal? Its strength, appeal in the '30s, the reason for the remakes? Why the basic appeal of the Hollywood stardom story linked with the Hollywood decline? The impact of the film in the '30s, its light on Hollywood of the time? The reality of the plot?

2. The stars and their performances and reputations., the supporting cast, the use of colour in the mid-'30s? Musical score?

3. The strength of the plot, the quality of the dialogue, the blending of the American dream and American disillusionment? The background of America in the '30s and the Depression and the Hollywood dream factory?

4. How well did the film communicate Hollywood and its aura? The look of Hollywood, the studios, homes, parties etc.? The glamour of stardom? The realities of heartbreak? The importance of luck,' people known, connections, breaks? The effect of success. people using one another, the effect on human values. on the values of life? The artificiality of Hollywood?

5. The small town background of Esther, identifying her with the average American, the details of family life, Gran and the money, the Depression and Esther's hopes? The flavour of so many films of the time with the middle-American background?

6. The build-up of her travel, the arrival in Los Angeles, the film's contrasting Los Angeles with Esther's rural background? Her being overwhelmed by Hollywood, the footprints, Norman Maine and the introduction etc.? Could audiences see how this atmosphere could affect a person?

7. The hardships of life in Hollywood: seeking apartments, questions of money, the interviews - and aspiring starlets being one in a hundred, the various jobs and their dead-end tone, the continual attacks and almost desperate trying?

8. Esther's friend, as a type, her help, stand by? The humour of Andy Devine and his portrait? His telling the truth to Esther?

9. The sequence of the Hollywood Bowl, Norman Maine and his way of life, glamour, friends, women? The peak of Norman Maine's career? The publicity drives, truth and falsity? Norman Maine as a character within the Hollywood system?

10. The party sequence, Esther and her acting as a maid, Maine and the plates, his drinking, his estimation of himself, the contrast with Esther and her straightforwardness, her helping him? The repercussions?

11. The luck of the phone call, the break, the leading to success? The fulfilment of dreams?

12. Oliver Niles and his role, studios, ruthlessness, boss, using people, manipulating people? His attractive qualities as a person, unattractive? Libby and his job, the hustler, publicity, thinking up schemes, pushing? The embodiment of the Hollywood hustle? His true attitude towards Norman Maine and the venting of his hatred? His regard for Esther?

14. The look at films and film-making in the 1930s, studios, style, the build-up to the completed film, the preview and the audience and their response?

15. How well did the film develop Esther's career, success, her handling of the situation?

16. The contrast with Norman and his lack of drawing power, drinking, decline? The credible paralleling of their careers?

17. The background to their wedding, how well did they know each other, love each other? The possibility of success for both? The importance of the house and its being theirs? Their being at home?

18. The contrast of Esther being at work and Norman being at home? The demoralising effect on him? The effect on her?

19. The set piece of the award night, the glamour, the ballyhoo, Esther and her success, Norman and his humiliation?

20. How well did the film show Norman in his decline - what was left for him? The sanatorium sequences, the races, the fight, the court case? Libby and his role?

21. Niles and his gesture to give Norman and character part? The ultimate humiliation?

22. The build-up to the final night, Esther's tenderness for her husband, his regard for her? The build-up to his death and its pathos? The credibility of this way of ending his life?

23. Esther's response to her husband's death, her reappearance, Gran and coming from the country? The build-up to the broadcast and her being 'Mrs. Norman Maine'? An appropriate climax for the film?

24. The film as an exploration of human values and relationships? How valuable, how much insight? Its basic themes of success, failure, wealth, reputation, interdependence, life and death?