A Star Is Born (1976) User Reviews

An Enduring Tale

[bkoganbing · 6/10 · 4 April 2009]

Transferred from the world of Hollywood to the world of rock music, this latest version of A Star Is Born lacks the glamor of the other two, mainly because the field is a less glamorous one. Nevertheless the role of Esther has attracted only the best of players, from Janet Gaynor to Judy Garland and now Barbra Streisand. That's a hat trick hard to beat in any field.

In the other two versions, Fredric March and then James Mason, are a pair of self destructive drunks who when we meet them are on the downward side of their careers and have only one ennobling virtue, their love for Gaynor/Garland. Kris Kristofferson however is a multi-substance abuser and because we're talking about the rock scene has the groupies attached to him. Unlike in the other two versions, Streisand catches him with one and the whole thing about the pure love loses its potency because of it. However the incident does set him up for his final moment of self destruction.

All the supporting characters from the other two versions are completely eliminated. Gary Busey has a nice role as Kristofferson's music arranger who fulfills many of the functions that eliminated characters from the other versions have. The rest of the film's supporting parts are very undefined which makes this version weaker than the others.

But for those who are interested in hearing Barbra sing, A Star Is Born will more than satisfy you. The film got an Oscar for the song Evergreen which Kristofferson and Streisand duet and it became one of her best selling records. Judy Garland was similarly served in her version with The Man That Got Away although that song was nominated and did not win.

A Star Is Born is an enduring tale and I don't think we've seen the last of it. May the next group of players do the story as much justice as the three pairs of co-stars I've cited.

The Ultimate Wallow for Barbra-philes...Watch Closely Now as the New DVD Has Solid Extras

[EUyeshima · 7/10 · 29 November 2006]

Thirty years after its initial release, the third version of "A Star Is Born" finally comes to DVD in a package that should please the most devoted fans of Barbra Streisand. That would include me since I just saw her in concert singing among other numbers, the feminist anthem "Woman in the Moon" from this 1976 film. Easy to dismiss, the movie's career-polarizing story is such a sturdy pile of Hollywood-style clichés that variations of it exist in other films including Streisand's own "Funny Girl". This time reset to the then-contemporary music scene, the timeworn plot follows self-destructive rock star John Norman Howard on his deep-dive career descent just as he meets club singer Esther Hoffman who is awaiting her big break.

Troubles dog their courtship from the outset, as John Norman (both names please) responds to grasping fans and bloodless DJs with random acts of violence (from which he inexplicably escapes prosecution). To John Norman, Esther represents his last shot at happiness, and in turn, she is drawn to the innately decent, creative musician underneath the façade. In the movie's most pivotal scene, he gives Esther her big break at a benefit concert, and her career takes off. Inevitably, he can't handle the failure of his career in light of her meteoric success, and if you are familiar with any version of this story, you know the rest. Directed by Frank Pierson (although Streisand's budding directorial talents are obviously on display), the film still manages to draw me in, even though I know it is shamelessly contrived and manipulative. It still has a certain emotional resonance despite its numerous flaws.

Although Streisand in her prime seems like the ideal choice to play a rising singing star, her screen persona is simply too strong and predefined to play Esther credibly. The same can be said for her performing style since the script seems to make allowances for her softer Adult Contemporary-oriented material to be accepted within the otherwise hardened world of arena rock. From the moment she pops her head up as the middle of the Oreos, she can't help but come across as an established star. I can forgive the lapse simply because she is an unparalleled vocal talent, but what becomes less forgiving is how she makes Esther more strident than poignant when John Norman's woes become overwhelming. This creates an oddly discomfiting dynamic in the last part of the film when it becomes less about what caused the climactic event than Esther's response to it. This is capped off by an uninterrupted eight-minute close-up of her memorial performance - great except when she regrettably mimics John Norman's style toward the end.

Kristofferson, on the other hand, gives a superb performance throughout, managing a level of honesty that grounds the film and makes palpable his concurrent feelings of love, pride and resentment toward Esther. He makes his vodka-soaked onstage growling work within this context. Otherwise, what always strikes me as strange about this version is how all the supporting characters are relegated to the background as if they didn't exist unless they were interacting with the two principals. The only ones who register are Paul Mazursky as John Norman's level-headed manager Brian and Gary Busey as his cynical band manager Bobbie. Veteran cameraman Robert Surtees provides a nice burnish to the cinematography though a level of graininess persists in the print. A big seller in its day, the soundtrack is a hodgepodge of different styles from the 1970's - some songs still quite good ("Everything", "Woman in the Moon", "Watch Closely Now"), some that have moved to kitsch ("Queen Bee", Kenny Loggins' "I Believe in Love") and of course, the inescapable "Evergreen".

The print transfer on the 2006 DVD is clean and the sound gratefully crisp thanks to digital remastering. Streisand's participation is the chief lure of the extras beginning with her feature-length commentary. She gives insightful information about the genesis of the film, the casting and the reportedly troubled production. She is also refreshingly candid about the megalomania of Jon Peters, her hairdresser boyfriend who became the movie's producer, and her dissatisfaction with Pierson as a director. I just wish she could have provided more scene-specific comments that directly relate to what is on screen. She also tends to repeat the same anecdotes when the mood strikes her, e.g., it gets tiring to hear for the third time how the person playing the chauffeur was a friend of Peters. I think having a second commentator could have drawn out other nuggets from her.

There is a wardrobe test reel that shows some amusing 1970's clothes, especially Kristofferson's mixed-fabric poncho and orange polyester shirt. There are also twelve deleted scenes included with Streisand's optional commentary. One is a comic bread-baking scene which reminded me how much I like Streisand in farcical comedies. Another is an extended scene in which she plays "Evergreen" on the guitar in front of an awestruck Kristofferson who then falls asleep. The most interesting is an alternate take on the musical finale incorporating fast cuts, which I agree with Streisand should have been used. Fittingly, the theatrical trailers for all three versions of "A Star Is Born" are also included.

The third and least workable version of the classic Hollywood tale.

[gbrumburgh · 5/10 · 11 February 2001]

The anticipation for this musical film was huge. It seemed the perfect star vehicle for Barbra Streisand and she hadn't had a hit for almost three years ("The Way We Were"). Janet Gaynor and Judy Garland were superlative in their creations of the classic tale of the Hollywood couple -- one star on the rise, the other on the skids. Could Streisand put her own indelible mark on this material as well and reestablish herself as a triple-threat performer?

Nope. Not even close. This third version (actually fourth, if you include 1932's "What Price Hollywood" starring Constance Bennett and Lowell Sherman) stalls early in the game by transposing the dramatic setting of Hollywood movie-making to the brash, uncouth pop/rock music scene... and it is only one of many fundamental mistakes this movie makes.

The rags-to-riches story of Esther Hoffman Howard ain't believable for one second. Streisand the struggling artist? She plays Barbra the hard-assed star from the very first scene, lacking the courage or ability to immerse herself into a fully-realized character. She brays and bullies from the onset, showing no emotional colors whatsoever in a performance bereft of weakness, vulnerability and, as a result, sympathy. Ironically, she played this part to perfection ten years before -- as Fanny Brice, the gawky chorus girl who became a Ziegfeld Follies legend. Well, somewhere in those ten years, is a big star who has forgotten how to laugh at herself.

Its been said that Elvis Presley was briefly considered for the part of John Norman Howard, the singer on the skids, but turned it down for fear of being upstage by Streisand. All the same, one wonders what "The King" might have done with a too-close-to-reality role like this. In the hands of Kris Kristofferson, he tosses in a performance so lackadaisical and careless that one wonders if he was sober at all during the film's shoot. They appear to be performing in two different movies. Neither one interesting.

The screenplay is hopeless trite and corny, fueling some of the most unintentionally funny scenes in recent memory. Streisand's fight scene with Kristofferson after she catches him in the sack with some chippy and her emotional cassette-ripping scene in the mansion after John Howard's death are just plain embarrassing. If she's such a perfectionist in real life, how did these two scenes ever get by the editor's scissors.

The one thing Streisand did right in this movie is the one thing she can never do wrong. Sing. Possessing arguably the finest vocal instrument known to man, she weaves absolute magic in her singing scenes, notably "Woman in the Moon" and especially her heart-breaking finale number, "Are You Watching Me Now." Here, and only here, does she seize an emotional connection to Esther that evaded her throughout the film.

Alas, it is not enough to save this film dud. But, if you must see this, I'd advise you to skip the acting scenes and fast-forward to each Streisand number. Better yet, buy the CD.

A convincing human drama

[breakdownthatfilm-blogspot-com · 7/10 · 16 May 2014]

It's always been many people's dreams to become famous. Who could resist having tons of fans, lots of money and being able to do anything you want? It's a big change for anyone who makes this transition and most of the time, they end up cracking under pressure. Once this happens, frequently, the newly discovered celebrity will turn to drugs and other means to escape reality to find peace among themselves. But how often does someone discover the right person that'll keep him or her from going down the wrong path while in this state of glory? Now a days, it happens often enough that nobody thinks about it. Back then though, probably was a different story.

Audiences will be introduced to artist John Norman Howard (Kris Kristofferson), an entertainer who's stardom is beginning to die among his fans. He takes drugs, drinks constantly, and sings the same hits every time he's on tour. Until one night, he goes out on the town, decides to sit at a local bar and discover someone who can sing just as good if not better than him. That singer is Esther Hoffman (Barbra Streisand), a girl just trying to make a living, seeking love and hoping to make it big in show biz. It's John who's going to help her get there. Thus allowing Esther to as John puts it - "Getting small piece of the American Dream". Ergo the title of the movie.

The movie is directed by Frank Pierson who also wrote for Cool Hand Luke (1967) and Dog Day Afternoon (1975). Pierson also wrote the screenplay with two other writers who formed a fairly solid story. The only weak point is the unclear characterization Kristofferson's character. There are some motivations of John Norman Howard that aren't exactly explained. He'll do actions that should require explanations to but doesn't give one. It's understood that he's a wild and free man but every action has a motive behind it. They don't just go unexplained. Other than that, Kristofferson's performance is well acted. It's even more coincidental that a lot of the scenes displayed throughout the running time depict rather closely to what Kristofferson himself was going through at the time of his life.

Barbra Streisand also puts in a good performance as the unknowing upcoming celebrity that is forced into the life of popularity and paparazzi. Of course, when Streisand and Kristofferson are together, their chemistry feels natural. This is also displayed when these actual artists perform together as well. Audiences should appreciate that Streisand had the singing scenes filmed without voice-over work. It makes the performances and singing that much more believable and emotional. There's also a few other actors who pop in from time to time. Tony Orlando and Kristofferson's future spouse Rita Coolidge have a scene together. A very young and what appears to be sane Gary Busey plays John Norman Howard's head collaborator. Even Robert Englund from A Nightmare on Elm Street (1984) has a brief scene.

Although the films running time is about as long as your normal Michael Bay summer blockbuster (which may bore some viewers), these last few pieces help make the film as entertaining as it can be. Assisting to condense the movie as much as it could and make scenes flow was editor Peter Zinner who also edited for The Godfather (1972). Then there's Roger Kellaway's score to the film, which does try to keep the emotions high. However, it's not always present because half of the emotion is shown in the singing done by the main leads, which should satisfy most score aficionados. Lastly is Robert Surtees' cinematography where he captures very large concert audience shoots and some very beautiful rural landscape. It's an entertaining human drama with some flaws.

It lacks a little characterization and might be long for some, but the actors portray raw emotion and real performances to boot. The story is also a good representation of how quickly popularity can fall or soar.

A Good Remake

[claudio_carvalho · 7/10 · 5 February 2019]

"A Star Is Born" (1976) uses the same storyline of the previous versions, i.e., the story of the rise of a new star and the fall of the old one, who is her beloved alcoholic and drug addicted man that discovered and promoted her career. However, this 1976 version changes the story and both Esther Hoffman and John Norman Howard are singers. There are dated scenes in 2019 but it is still a great movie with Barbra Streisand and Kris Kristofferson showing excellent chemistry. The music score is magnificent for the fans of Barbra Streisand. My vote is seven.

Title (Brazil): "Nasce uma Estrela" ("A Star Is Born")

Please be gentle with him

[kapelusznik18 · 6/10 · 19 February 2016]

**SOME SPOILERS** Very likely the schmaltziest of the three or is it four versions of the movie "A Star is Born" has super rock star John Norman Howard, Kris Kristofferson, self destruct right before our eyes as his old lady or wife Esther, Barbara Streisand, rises to to top of the pop music world without as much as breaking into a sweat or note. John who already was on the way down when he met Esther as a member of a bi-racial womens singing trio "The Oreos" and discovered as well as later married her while he was still sober. Before the poor and suffering from the DT's John knew it Esther became the biggest hit in the world of music with him becoming a helpless drunk and speed freak.

Despite her amazing success Esther still stuck by her man John and did her best to get him back on his feet and wagon but his pride just got in the way. The final straw was when John found semi nude "Rolling Stone" reporter Queint,Marta Heflin, taking a dip in his swimming pool who asked him for an exclusive interview. It's when a shocked Esther found John and Quint buff a** naked in bed and under the covers she blew a fuse and practically kicked him out of the house. What really ticked off the outraged Esther is just how the drugged out looking Quint acted as if there was nothing wrong in being in bed with John as she was interviewing him. John who by now had lost all his self respect and dignity continued to make a complete fool of himself in public at the expense of his wife Esther by falling down drunk at an award "The Grammies" show that his wife Ester was invited as a guest speaker. Drunk disorderly and and out of control a semi conscious and smashed out of his skull John in the end let it all go and went along with it. Taking a drive in the desert with his hopped up red sport car that in it going over 100 MPH overturned and killed him.

Unlike in the other versions of the movie where the husband ends it all by walking nude into the Pacific Ocean and drowning himself in here he took the land or scenic route to do himself in so to keep from getting himself wet and not having his body washed away out at sea. In fact John's death unlike the previous movies was more like and accident instead of a suicide which made it less, for what it's worth, tragic.

A devastated Esther who had since made up with her drunk and philandering husband John came back out of hiding to belt out a song at a memorial for her late husband who's singing brought the roof down as well as caused her to suffer what seemed like a major emotional as well as psychical breakdown. As Esther struggling to regain her composer seemed to lose it on the stage as well as at times forget the lyrics of the song she was singing! With her turning all the colors of the rainbow as the movie ended in an eerie freeze frame before she was given any sort of medical attention. Despite the movie's many faults it turned out to be one of the top money makers of 1976 doing some 80 million dollars in ticket sales.Which showed just how powerful Barbara Streisand's star power was even when she was given a turkey of a role as well as movie to perform in.

Musical miscarriage ...

[majikstl · 2/10 · 1 January 2006]

To grasp where this 1976 version of A STAR IS BORN is coming from consider this: Its final number is sung by Barbra Streisand in a seven minute and forty second close-up, followed by another two-and-half-minute freeze frame of Ms. Streisand -- striking a Christ-like pose -- behind the closing credits. Over ten uninterrupted minutes of Barbra's distinctive visage dead center, filling the big screen with uncompromising ego. That just might be some sort of cinematic record.

Or think about this: The plot of this musical revolves around a love affair between two musical superstars, yet, while Streisand's songs are performed in their entirety -- including the interminable finale -- her costar Kris Kristofferson isn't allowed to complete even one single song he performs. Nor, though she does allow him to contribute a little back up to a couple of her ditties, do they actually sing a duet.

Or consider this: Streisand's name appears in the credits at least six times, including taking credit for "musical concepts" and her wardrobe (from her closet) -- and she also allegedly wanted, but failed to get co-directing credit as well. One of her credits was as executive producer, with a producer credit going to her then-boyfriend and former hairdresser, Jon Peters. As such, Streisand controlled the final cut of the film, which explains why it is so obsessed with skewing the film in her direction. What it doesn't explain is how come, given every opportunity to make The Great Diva look good, their efforts only make Streisand look bad. Even though this was one of Streisand's greatest box office hits, it is arguably her worst film and contains her worst performance.

Anyway, moving the melodrama from Hollywood to the world of sex-drugs-and-rock'n'roll, Streisand plays Esther Hoffman, a pop singer on the road to stardom, who shares the fast lane for a while with Kristofferson's John Norman Howard, a hard rocker heading for the off ramp to Has-beenville. In the previous incarnations of the story, "Norman Maine" sacrifices his leading man career to help newcomer "Vicky Lester" achieve her success. In the feminist seventies, Streisand & Co. want to make it clear that their heroine owes nothing to a man, so the trajectory is skewed; she'll succeed with or without him and he is pretty much near bottom from scene one; he's a burden she must endure in the name of love. As such, there is an obvious effort to make the leading lady not just tougher, but almost ruthless, while her paramour comes off as a henpecked twit.

Kristofferson schleps through the film with a credible indifference to the material; making little attempt to give much of a performance, and oddly it serves his aimless, listless character well. Streisand, on the other hand, exhibits not one moment of honesty in her entire time on screen. Everything she does seems, if not too rehearsed, at least too controlled. Even her apparent ad libs seem awkwardly premeditated and her moments of supposed hysteria coldly mechanical. The two have no chemistry, making the central love affair totally unbelievable. You might presume that his character sees in her a symbol of his fading youth and innocence, though at age 34, Streisand doesn't seem particularly young or naive. The only conceivable attraction he might offer to her is that she can exploit him as a faster route to stardom. And, indeed, had the film had the guts to actually play the material that way, to make Streisand's character openly play an exploitive villain, the film might have had a spark and maybe a reason to exist.

But I guess the filmmakers actually see Esther as a sympathetic victim; they don't seem to be aware just how cold-blooded and self absorbed she is. But sensitivity is not one of the film's strong points: note the petty joke of giving Barbra two African American back up singers just so the film can indulge in the lame racism of calling the trio The Oreos. And the film makes a big deal of pointing out that Esther retains her ethnic identity by using her given name of Hoffman, yet the filmmakers have changed the character's name of the previous films from "Esther Blodgett" so that Streisand won't be burdened with a name that is too Jewish or too unattractive. So much for ethnic pride.

The backstage back stabbing and backbiting that proceeded the film's release is near legendary, so the fact that the film ended up looking so polished is remarkable. Nominal director Frank Pierson seems to have delivered the raw material for a good movie, with considerable help from ace cinematographer Robert Surtees. And the film did serve its purpose, producing a soundtrack album of decent pop tunes (including the Oscar-winning "Evergreen" by Paul Williams and Streisand). But overall the film turned out to be the one thing Streisand reportedly claimed she didn't want it to be, a vanity project.

Loved Kris

[jazzmanbp · 10/10 · 26 March 2006]

I am and was very entertained by the movie. It was my all time favorite movie of 1976. Being raised in the 70's , I was so in love with Kris Kristoffersons look and demeanor,of course I am no movie critic,but for the time era,I think it was very good. I very much like the combo of Streisand and Kristofferson. I thought they worked very well together. I have seen the movie many times and still love the two of them as Esther and John Norman. I am a very huge fan of Kris and see him in concert when I can. What a talented singer song writer,not to mention,actor. I have seen him in many movies,but still think back to A star is Born.

When you want the best version, see this last!

[smithme652 · 3 October 2021]

This is the best version of this story, no matter how many times it is made over. Save the best for last.

My A STAR IS BORN

[nancyldraper · 7/10 · 7 October 2018]

This was the A STAR IS BORN I knew, released in 1976. It was the third of four (1937, 1954, 1976 and, now, 2018). I'm pretty sure I had the soundtrack on repeat, the songs still stir memories of my college years. Streisand vocals are spectacular. Kris Kristofferson was beautiful. This version made a complete contextual leap from Movie Star to Rock Star. It garnered 4 Oscar nominations, all for music and sound, and won for Best Song. Now, rewatching it, I see it had some rough spots, in terms of acting and writing, but I'll still go with a rating that harkens back to my first experience of it, making it a 7.5 (sweet good) out of 10. {Drama, Music, Romance}

Never look back

[pastabreakfastu · 2/10 · 12 October 2018]

I recently watched the 2018 version of this movie and decided I should see this version to give it perspective. I thought the 2018 version was very good, but after seeing Streisand and Kristofferson the newer version is picture of the year Kristofferson looked like he was in pain every time they had to appear affectionate. I realize it was filmed a long time ago, but there was zero passion, chemistry or intrigue. Copper and Gaga owned the screen, Streisand and Kristofferson need to give refunds. Streisand's singing is always powerful, but even that can't bring this version out of the abyss.

A magnificent vision of the 70's!

[barbra_streisand_bestfan · 10/10 · 16 February 2009]

Personnaly I really loved this movie, and it particularly moved me. The two main actors are giving us such great performances, that at the end, it is really heart breaking to know what finally happened to their characters.

The alchemy between Barbra Streisand and Kris Kristofferson is marvelous, and the song are just great the way they are.

That's why I didn't feel surprised when I learned it had won 5 golden globe awards (the most rewarded movie at the Golden Globes), an Oscar and even a Grammy. This movie is a classic that deserves to be seen by anyone. A great movie, that has often been criticized (maybe because Streisand dared to get involved in it, surely as a "co-director"). Her artistry is the biggest, and that will surely please you!

The weakest version of the story

[preppy-3 · 6/10 · 22 July 2023]

A self-destructive rock star (Kris Kristofferson) falls in love with an up and coming singer (Barbra Streisand). She becomes a big star while his career falls apart. It all leads to a predictable tragic ending.

I've seen all the versions of this movie and this is by far the weakest. It's not a bad movie but it pales in comparison to the others. It's too long and slow-moving. The acting is good but Kristofferson and Streisand have zero chemistry between them. Even worse is that all the songs (except for the Oscar-winning "Evergreen") are mediocre. Still this was a huge hit. Personally I'd stick with the Judy Garland version.

Don't watch too closely now...

[Lejink · 5/10 · 28 April 2009]

I enjoyed this 70's remake of the marvellous Judy Garland / James Mason classic from the 50's (itself a remake, film snobs) more than I expected without accepting that one isolated minute in it was better than its counterpart in the predecessor. A rocky update of the story is a decent idea and in fact lends itself well to the story-line and if the execution is a bit clunky and now dated, that's both pardonable and understandable.

Things I liked - well let's start with Kris Kristofferson who, with the more difficult part, certainly convinces as a hell-raising rock star, fuelled by drugs and alcohol, aware of tastes and fashions passing him by but with enough perception to see Streisand's Esther as the future. It's fun trying to pick out rock prototypes for his John Norman Howard character - I'm between Jim Morrison and Leon Russell myself, the latter married at the time ironically to sultry singer Rita Coolidge who herself gets a brief cameo appearance, while Howard's behaviour at Streisand's little night club where he "discovers" her recalls an infamous out of control episode in the "lost weekend" period in John Lennon's life, if memory serves. A pity they couldn't have trusted the writer of classics like "Help Me Make It Through The Night" and "Me And Bobby McGee" to contribute some of his own songs to the soundtrack and certainly his signature song here "Watch Closely Now" gets done to death.

I also quite enjoyed the soundtrack. I'm no fan of La Diva Streisand's singing or indeed acting but at least in her vocals she exercises some restraint and delivers a surprising variety of material demonstrating at least some versatility on her part, from the title-theme ballad "Evergreen", (the gorgeous music to which was, surprisingly enough written by her), light Labelle-type funk of "I Believe in Love" and the big torch ballad "The Woman in the Moon" which while beneath Judy's "The Man That Got Away", covers the same territory in a still acceptable way.

Things not to like - Streisand herself does a reasonable job and initially tones down her trademark "kooky" and "sensitive" personae a bit but you never really believe in her as a real person. Unfortunately as the film progresses so does her profile and we get embarrassingly lame scenes with the couple coo-ing at each other in various locations including a candle-surrounded bath scene, Streisand overacting furiously as she argues with a cassette-tape of Howard's voice after he's done his James Dean-type exit from the planet and worst of all that single long shot of her singing the finale medley, which is when you appreciate that yes, it's just another Barbie vanity exercise after all (especially when you see her name down as executive producer).

The dialogue is pretty rock-star cliché throughout and some of the situations come across very second-hand too (Howard snorting up before every show, his assaults on a critical dee-jay, Streisand's MOR music somehow wowing a crowd of rock 'n' rollers at a benefit gig) and of course the familiarity with the story reduces the surprise element of some of the plot developments.

All told though, long as it was, there were far worse films than this made in the 70's. By the way, what a pity they never released the version of "Evergreen" with Kristofferson harmonising on the middle section - it works a treat and adds to an already very pretty melody.

Horrible remake of a classic.

[sandiego-4 · 19 January 2001]

Horrible remake of an A+ classic remake. The acting is bottom of the barrel, as well the direction and production values. Paul Williams' 'Evergreen,' now seriously dated, was best part of the film. Everyone involved has done better, but none have done worse. Rent the Judy Garland/James Mason version and see what quality movie making is all about.

Yes, we ARE watching you now...

[moonspinner55 · 6/10 · 29 May 2001]

The 1976 remake, with the musical scenario switched from showtunes to rock, concerning a star-crossed marriage with one career on the upswing and the other in decline. Despite updating the milieu (which gives this new version some groovy pizazz for awhile), the time-worn plot is still heavily narcissistic, with masochism built into its formula (everyone suffers and swoons with such relish!). Barbra Streisand, after catching hubby Kris Kristofferson in bed with a female reporter, spits at her spouse, bites his lip, and claws his bare back, all the while whispering, "I hate you...I hate you..." finally turning into "I love you...I love you." Cut! Dissolve to a scene where the two are now riding horseback in the desert! Streisand's songs trump the show-biz clichés, and her dramatic closing number is a magnificent (if grand-standing) show-stopper, but the movie loses its focus in the second act, straying into the Arizona sunshine and staying there forever. We get glimpses of stardom--the high life--but the focus is much more on the melodrama. **1/2 from ****

Awaiting the predicted superior 2018 version!

[ASuiGeneris · 6/10 · 6 July 2018]

A Star is Born (1976) Director: Frank Pierson Watched: 6/5/18 Rating: 6/10

Forgive my bias, No need to "Watch Closely Now", This is Streisand's show.

"Evergreen" story- Rising woman/falling man, Fatal mismatched love.

Gorgeous mise-en-scène, Epic rock concerts/fun songs, "Everything" else schmaltz.

I "Believe in Love", But there was no chemistry Between these two leads.

Film crew grieved "Queen Bee" Streisand; Good films need more than a voice.

Haiku Sonnets are comprised of 4 3-line haiku plus a couplet of either 5 or 7 syllables, adding up to 14 lines, the same number of lines found in a sonnet. (5-7-5, 5-7-5, 5-7-5, 5-7-5, 7-7/5-5) #HaikuSonnet #PoemReview #GoldenGlobesBestPicture #Musical #Remake

Good remake from A Star Is Born but not up there with Bradley Cooper's version

[lisafordeay · 6/10 · 28 November 2018]

A Star Is Born 1976 is the 3rd remake from the same name as the 1956 and 1947 version and tells the story of an aging rocker named John Norman Howard (Kris Kristoffson) who falls in love with a young singer named Esther Hoffman(Barbara Streisland) who John helps out with her career. But will tragedy strike between the 2 lovers.

I wanted to see this version as I loved the Bradley Cooper and Lady Gaga version ALOT and wanted to find out whether it was as good or bad. This 1976 version is actually not bad. The acting is grand,the plot is decent but for some strange reason I preferred the Bradley Cooper version,maybe because I bought the chemistry more and the songs were a lot better in my opinion .

Would I watch this 1976 version again maybe.

6/10

Awful remake..

[shepard1 · 1/10 · 23 December 2018]

Streisand was so horribly miscast in this movie..it should've been called 'Funny Girl Meets Van Halen'. That brillo pad on her head and discount look, fake hippie clothes...just totally out of place on her. And Kristofferson was even worse, if that's possible. He can't carry a tune...Period...and mumbled all of his lines. The best part of the movie were the songs by Paul Williams.

Groovy Babs!

[matty03 · 10/10 · 27 May 2000]

My mom took me to see this movie when it came out around Christmas of 1976. I loved it then and I love it now. I know everyone makes fun of Barbra's hair in this one, but I think she looks and sounds great! ...And I seem to remember a number of women who copied that permed look at the time! Also, the bath tub scene between Streisand and Kristoferson is just so sexy! The music is great as well. This is the groovy 70's Babs at her best!

Average At Best

[Easygoer10 · 6/10 · 4 September 2020]

Well cast, but nothing like the first 2 films. Skip this mediocrity; please.

Streisand's feminist re-thinking of a classic movie story

[Isaac5855 · 5/10 · 8 June 2007]

Barbra Streisand brought her own vision to A STAR IS BORN, the third version of this classic Hollywood story about the romance between an up and coming star and her alcoholic husband whose career is fading into oblivion. Streisand put her own stamp on this movie, making the story more acceptable to her and more accessible to 1970s film audiences. She changed the setting of the story from films to the world of music, making her Esther Hoffman a struggling singer who is discovered by an alcoholic, self-destructive rocker named John Norman Howard (Kris Kristofferson)who grooms her for stardom while his own career falls apart. We all know this story and have seen either of the previous versions and some were unsettled by the fact that in this version, John Norman doesn't commit suicide, he is killed in a car accident instead, taking away a lot of the power of the story. The point of the original story is that the actor sacrifices his own life so that his wife won't give up the career she's worked so hard for. One of the most amusing parts of the original and 1954 versions is the whole episode about Esther changing her name so it looks better on a marquee. Here, our feminist heroine, Esther Hoffman, refuses to change her name and for me, this small but vital plot points diluted a lot of the power of this story. This production is overblown and uneven. It should be understood that Streisand was just on the edge of insanity while making this film. She was involved at the time with future film producer Jon Peters, who was running her career and her life. Peters butted heads with leading man Kristofferson as well as credited director Frank Pierson, who pretty much directed this film in name only...Streisand and Peters had the last word on everything regarding this film, much to its detriment, due mainly to Streisand's complete trust in Peters, who really knew nothing about film-making at this time. But no matter what else she does, this movie comes alive whenever Streisand sings. Highlights for me were "Queen Bee", "Woman in the Moon", "With One More Look at You" and, of course, the Oscar-winning "Evergreen." With all the hats she was wearing while making this film, needless to say, Streisand was not very focused on her performance here, which can be described, kindly, as uneven. Kristofferson, in a role originally offered to Elvis Presley, is strong and surprisingly sexy as John Norman Howard and Gary Busey also scores as John Norman's manager. For hard-core Streisand fans only.

My Guilty Pleasure

[Zebb67 · 10/10 · 3 January 2016]

This film is my number one guilty pleasure as far as movies go. Yes, the critics were right about everything: Streisand's pop songs sound more like her usual, Broadway show-stoppers; Streisand's character's instant stardom is contrived, to say the least; Kris is an excellent songwriter, but he, uh, can't sing a note (yet he didn't write any of the songs in the film); and (getting a little mean here) even with a beard, Kristofferson is prettier than Babs. So why have I seen this film at least 100 times? Well, it was extremely entertaining despite it's many clichés and the other things I've sited. The music is also good, as cheesy as Babs' songs are and as poorly sung as Kris' are. I'm apparently not alone--in 1976, only Rocky made more money at the box office (not bad for an R-Rated movie in a year that had many great films, such as Taxi Driver, Network, All the President's Men and The Omen, The Bad News Bears, to list a few. Very dated today, but I still want to watch it again.

Well done 70's rock lifestyle film, but needs better songs

[Wuchakk · 6/10 · 19 December 2020]

A big time rock star is self-destructing on the lifestyle (Kris Kristofferson) when he inadvertently meets a talented smalltime singer (Barbra Streisand) and becomes her "golden connection" to stardom. Gary Busey is on hand as the former's manager.

"A Star is Born" (1976) is a drama/romance/musical focusing on the 70's rock star lifestyle, which differentiates it from the two classic versions from 1937 and 1954. It's similar to the later "The Rose" (1979), but I prefer this one. "Oh, God! You Devil" (1984) is another good comparison, despite the paranormal elements, and I slightly prefer that one.

Kris Kristofferson is effective as the stud rock star in the manner of, say, Lindsey Buckingham in the 70s. He's not the best singer but, then again, Bob Dylan wasn't either (of course, he's still alive as of this writing).

Meanwhile Barbra never looked better, especially in her white Superman outfit in the desert. She's a great singer, but none of the songs in the movie stir me much. At least Cher had great songs in the 70s, not to mention Fleetwood Mac. That's what this movie needs, better songs, especially since so much time is devoted to Barbra performing. At the same time, the songs are certainly serviceable.

The best part of the movie, for me, is the dynamic opening act. It then bogs down with the love story, but I appreciated the unexpected desert sequences. The ending is, um, I can't give it away.

The film runs 2 hours, 19 minutes, and was shot in Arizona and Warner Brothers Studios, Burbank, California.

GRADE: B-/B

Unbearable

[truemythmedia · 3/10 · 19 August 2019]

I hate to say it but the casting is both the success and failure of this film. Well, not completely. The script would still be just standard Hollywood melodrama even with different actors but the casting goes wrong in multiple ways and ends up being the most notable thing about the movie. There are two big ways that the casting sticks out.

The first is with Kris Kristofferson. Now the problem with Kris is not that he is bad. The problem is really just the opposite. He's effortless. It doesn't feel like h is acting, mostly because the role isn't a big stretch for him. He really is a great rock star so playing the frontman soaking up the praise of impossibly large crowds. This wouldn't be a big issue if it wasn't for the next way the film's casting fails.

The second failing is with Barbara Streisand. Unfortunately, she just never seems like the sort of rock-star/pop-star extraordinaire that the film portrays her as. This is doubly felt because even as she struggles to pull this off believably, she's standing next to Kristofferson who does it almost absentmindedly. It casts a spotlight on Streisand and how out of her element she is in that sort of venue.

On top of all that, the two of them are not at all a natural feeling couple. The whole time they are together I kept wondering why they were into each other. From what I can tell, Streisand is supposed to be, and is, much younger than Kristofferson but that doesn't change the fact that Streisand doesn't look that much younger than Kristofferson. Movies are a visual medium. The visuals are important and the fact that she doesn't look the part is a problem. I'm sorry.

The biggest problem with this film really is the story. I understand that some films are supposed to be a classic retelling of a reoccurring story and theme but this film seems to take the emotion of the moment for granted. It's as if the director read the script and simply shot the intimate emotional scenes with an attitude like 'well people are being this movie for the stars and the singing so let's get through all the talking bits and to the songs." Umm. Problem. If you don't like Streisand (which I don't) then there is nothing to latch onto.

The love in this film doesn't feel special. In fact, I feel like most couples I know fall harder for each other than these two do. Romeo and Juliet is the classic it is because they don't just say they would die for each other. They actually do. The couple here feels like they might not even care enough to take out the trash or do the dishes for each other.