Listening for the music in “A Star is Born”

chameleonic Lady Gaga, and even subconsciously seems likely to affect our reading of the film. Celebrities playing celebrities inevitably make one consider real-word implications. The film and its press tour beats the gong of authenticity (the story of Cooper wiping off Gaga’s makeup in an audition to see the true her – a scene out of the 1954 version) has earned conflicting reactions but mimics the film’s own interest in authenticity. In a key scene, as Ally’s star seems firmly about to rise, Jackson hugs her close and tells her to dig deep inside herself and always show the true her. People may not be listening forever or for the right reasons but it’s up to her to ensure she’s giving them the real her. The true her. And, it’s that question of authenticity vis-à-vis pop music.

For despite this brief edict on holding on to truth, and despite numerous shots of filled arenas and pulsating guitars, “A Star is Born” always seems slightly removed from really assessing the music industry it represents. Each time a pronouncement on stardom or music is suggested the film seems to abandon it for the purely humanistic. And yet, if a film invokes the question of legitimacy and authenticity in an industry, it seems natural to read whatever the film offers as commentary on that industry. And it’s here that the music is key. Jackson’s rock-influenced country-style dominates the first half and Ally finds her success touring with him. Even as she devolves into less noticeably country music (a solo number “Always Remember Us This Way” is her most moving vocal work, whereas the early duet “Shallow” is the most effectively photographed and edited sequence), it is never completely removed from a sort of singer/songwriter aesthetic that suggests authenticity. Early this week an old interview with Mariah Carey resurfaced where she spoke about her career. She mentioned the lack of respect she’s gotten. Despite writing all of her hits (other than the ones that were covers of older songs) she’s never seen as a real artist because she doesn’t play an instrument. And although she doesn’t say it, one can infer because her musical aesthetic moves beyond singer/songwriter acoustics into an urban pop that it is less valued for authenticity.

Seeing that interview this week seemed essential to my reading of the second half of “A Star is Born” as Ally comes under the wing of a British producer, Rez, who exudes smarminess. With new hair, a new sound and backup dancers, Ally’s act changes and the genre divide between her and Jackson is emphasised in an SNL-performance of the hip-gyrating “Why Did You Do That?” as he looks on in ambivalence. Whether or not the song is bad is secondary; what’s clear is that for Jackson she has lost her authenticity. And the film never gives us Ally’s perspective on this, forcing us in some ways to read between the lines. And to read what’s given, it seems pointed that Ally’s urban output is less musically thoughtful than either the country-rock or more generically neutral adult pop songs. Jackson’s country songs, especially the often reprised “Maybe This Time,” evoke god and existentialism through thoughtful metaphorical assessments. As Ally evolves under his wing, her pop inspired soft-rock speaks of their love for each other and her sense of self (the song “Look What I Found” employs this best). Under Rez, her urban output is about…butts. We all love a good bop about body-parts but the limited space the film offers for urban pop (in 2018 when commercial pop and urban pop offers worlds of thought) seems odd, and even more bizarre when read against Gaga’s own career as a pop star, built on theatrics and fame while being authentic.

In this way, Gaga’s presence, a chameleonic performer known for her excess not as distraction but as part of her authenticity, ends up both adding to and detracting from the film’s textual implications. An authenticity marked by no make-up and smoke and mirrors is its message. An early, sensual sequence, where Jackson removes Ally’s fake eyelashes is text not subtext: show us the “real” you, it tells us. The film promises the tale of the birth of a star and yet it is strangely demure about who the real Ally is. What is Ally’s sound? What is Ally’s voice? We never learn her last name, even. Ally’s sound shifts depending on whether she’s under the tutelage of Jackson or Rez, but her lack of vocal distinction seems like a commentary on itself when the star who is being born seems a musical cipher. But, then, maybe despite the soundtrack the music isn’t the story. “A Star is Born” isn’t a musical, but a drama featuring music. Its central story warms, but its ruminations on the industry at its centre seem less benevolent.

“A Star is Born” is now playing at Princess Movie Theaters and Caribbean Cinemas

Email your responses to Andrew at almasydk@gmail.com or follow him on twitter at DepartedAviator.