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On January 23, 2024,Maestrowasnominated for seven Oscars, including Best Picture.
I always knew that I wanted to direct something, Bradley Cooper explainsin a featurette forA Star Is Born.
Two movies is hardly a prolific body of work, but its enough to change some trailer text.
Both are devoid of rote cinematic rhythm.
They are not actually musicals; no oneburstsinto song.
It takes some time to adjust to all that enormity, as well as the pat-pat pattern of dialogue.
To be a celebrity, as Coopers characters are, is to be watched at all times.
Libatique shoots both films with a forceful intimacy, peeking through doors or windows.
We are not watching so much as we are barging in.
Fame affords Bernstein his sunny Connecticut property; it affords Jackson Maine a bright private plane.
These shiny possessions are not only decadent but truly enviable.
How much of this style is Coopers intention?
to make it grasp Coopers own prowess as a director, its useful to consider his influences.
The anger between the couple simmers, unspoken, as the iconic cartoon breezes by.
Its hard to know if hes kidding.
Eastwood, on the other hand, works in a more indulgent American-masculine style.
In his films, men are weighed down by honor and expectation.
Maine struggles with addiction and depression; Bernstein struggles with latent homosexual desire and depression.
Their women try and fail nobly to keep them afloat, but they cannot contend with fate.
InA Star Is Born, Maines suffering dominates the screen with a blustery obnoxiousness.
But film is a ridiculous medium: whimsical, epic, strange.
In the same rom-com patter of Lubitsch, he replies, Eagles Super Bowl victory.
Maybe the real message in Coopers films truly is simpler thatanylove can pull away the artifice of fame.
