A film star helps a young singer and actress find fame, even as age and alcoholism send his own career on a downward spiral.A film star helps a young singer and actress find fame, even as age and alcoholism send his own career on a downward spiral.A film star helps a young singer and actress find fame, even as age and alcoholism send his own career on a downward spiral.
- Nominated for 6 Oscars
- 7 wins & 13 nominations total
Tommy Noonan
- Danny McGuire
- (as Tom Noonan)
John Alban
- Academy Awards Attendee
- (uncredited)
Laurindo Almeida
- Guitarist
- (uncredited)
Leon Alton
- Usher
- (uncredited)
Rudolph Anders
- Mr. Ettinger
- (uncredited)
David Armstrong
- Soundman
- (uncredited)
Phil Arnold
- Agent #3
- (uncredited)
Nadine Ashdown
- Esther - Age 6
- (uncredited)
Gertrude Astor
- Racetrack Spectator
- (uncredited)
Storyline
Did you know
- TriviaGeorge Cukor offered Marlon Brando the role of Norman Maine on the set of Julius Caesar (1953). "Why would you come to me?" asked Brando. "I'm in the prime of my life... If you're looking around for some actor to play an alcoholic has-been, he's sitting right over there"- pointing at his costar James Mason, who got the part.
- GoofsAfter Vicki comes home and she performs in her house for Norman, the doorbell rings and he goes to the door to accept a package for Vicki. His hair is all mussed-up when he goes to the door, but after he closes it and the camera goes back to him, there isn't a hair out of place. Then he walks over to where Vicki is and his hair is all mussed-up again.
- Quotes
[last lines]
Vicki Lester: Hello, everybody. This is Mrs. Norman Maine.
- Alternate versionsContrary to popular belief, the film was not originally at 181 minutes, but rather 196 (3hrs. and 16mins.) at a post-premiere shown on August 8, 1954 in Huntington Park, California. After its second post-premiere - the very next day - two scenes of 15 minutes total were deleted; making the film run its original world debut length at 181 minutes. One was a number called "When My Sugar Walks Down the Street" that came after Judy's take of "I'll Get By" in the 'Born in the Trunk' sequence, the other was a scene where Garland and James Mason's characters (Vicki and Norman) were picnicking on the beach; production stills and promotional advertisements are the only thing left in existence of the footage. After its world premiere on September 29, 1954, 27 minutes was cut, bringing it down to a mediocre 154 time length. Those scenes were:
- 1) Esther quitting the band
- 2) The Trinidad Coconut Oil Shampoo
- 3) Esther working at a drive-in
- 4) Norman being driven away drunk in his car
- 5) Norman inquiring Esther's old landlady
- 6) Spotting Esther on the TV commercial
- 7) Tracking down Esther at her new boarding residence
- 8) Driving down the strip - Esther getting sick
- 9) "Here's What I'm Here For" musical number - Norman proposes
- 10) "Lose That Long Face" musical number - Vicki breaks down
- ConnectionsFeatured in Film Night: Film Night Special: Forty Years in Hollywood (1970)
- SoundtracksGotta Have Me Go with You
(uncredited)
Music by Harold Arlen
Lyrics by Ira Gershwin
Performed by Judy Garland with Jack Harmon & Don McKay
Featured review
Garland's Shining Hour in a Pristine Print of Her Legendary Vehicle
Marked by a pervasive sense of melancholy, the 1954 musical version of the familiar Hollywood warhorse will forever be remembered as Judy Garland's most acclaimed work in films. Even though she would go on to a handful of films in the early 1960's, this was her last leading role in a major Hollywood production, an ironic point since she plays an emerging movie star on the rise. True, she doesn't look her best in the film, but her fulsome talent is on full, heart-wrenching display as Esther Blodgett, an obscure but thriving band singer who becomes movie star Vicki Lester thanks to Norman Maine, an alcoholic has-been movie star in career free-fall. Their love story and the opposing trajectories of their careers are tracked meticulously by Moss Hart's shrewdly observed screenplay and George Cukor's sensitive direction.
The double-sided 2000 DVD provides the 176-minute restored version, which is just five minutes less than what was shown at the original premiere. Until 1983, the half-hour of footage excised after the premiere was thought lost, but film historian Ron Haver found much of it and supervised an extraordinary restoration effort that includes a necessary albeit brief use of production stills to match up with the complete soundtrack. Even with such technicalities, the resulting film is even more of a landmark musical drama, emotionally resonant in spite of certain pacing issues with the storyline. Cukor's approach is probably more leisurely than the relatively hard-boiled material requires since he includes so many establishing and lengthy shots, but his direction shows his legendary sensitivity toward actors.
While he comes across a bit too robust as a fading matinée idol, James Mason vigorously captures Norman's scornful pride and self-pity. He may lack Fredric March's innate sense of vulnerability in the original, but Mason makes the character's inner torment more palpable. As for Garland, she brings so much of her own history to Esther/Vicki that her scenes feel alive with her vibrant, masochistic personality. She is aided immeasurably by the masterful songs of Harold Arlen and Ira Gershwin, most significantly her torchy rendition of "The Man That Got Away", as perfect a musical movie moment as has been ever produced. While her work in the fifteen-minute "Born in the Trunk" sequence is impressive, it is really later in the film when she soars, in particular, when she segues from the tap-happy "Lose That Long Face" into a breakdown scene in her dressing room with sympathetic studio head Oliver Niles portrayed with his typically stentorian fervor by Charles Bickford.
The print condition and sound quality on the DVD are superb. There are also some fascinating extras on the B-side starting with three alternative takes on "The Man That Got Away", each distinctive in presentation with costume and lighting changes, a must for Garland fans. Also included is a very brief deleted number within the "Born in the Trunk" sequence", "When My Sugar Walks Down the Street". Three vintage pieces have been gathered - a brief newsreel piece of the premiere, a four-minute clip of the Coconut Grove premiere party held after the premiere, and most interestingly, a half-hour kinescope akin to the current-day red carpet pre-shows with an amazing parade of period stars expressing little more than good wishes on their way to the theater. Lastly, the theatrical trailers for all three versions of "A Star Is Born" are also included.
The double-sided 2000 DVD provides the 176-minute restored version, which is just five minutes less than what was shown at the original premiere. Until 1983, the half-hour of footage excised after the premiere was thought lost, but film historian Ron Haver found much of it and supervised an extraordinary restoration effort that includes a necessary albeit brief use of production stills to match up with the complete soundtrack. Even with such technicalities, the resulting film is even more of a landmark musical drama, emotionally resonant in spite of certain pacing issues with the storyline. Cukor's approach is probably more leisurely than the relatively hard-boiled material requires since he includes so many establishing and lengthy shots, but his direction shows his legendary sensitivity toward actors.
While he comes across a bit too robust as a fading matinée idol, James Mason vigorously captures Norman's scornful pride and self-pity. He may lack Fredric March's innate sense of vulnerability in the original, but Mason makes the character's inner torment more palpable. As for Garland, she brings so much of her own history to Esther/Vicki that her scenes feel alive with her vibrant, masochistic personality. She is aided immeasurably by the masterful songs of Harold Arlen and Ira Gershwin, most significantly her torchy rendition of "The Man That Got Away", as perfect a musical movie moment as has been ever produced. While her work in the fifteen-minute "Born in the Trunk" sequence is impressive, it is really later in the film when she soars, in particular, when she segues from the tap-happy "Lose That Long Face" into a breakdown scene in her dressing room with sympathetic studio head Oliver Niles portrayed with his typically stentorian fervor by Charles Bickford.
The print condition and sound quality on the DVD are superb. There are also some fascinating extras on the B-side starting with three alternative takes on "The Man That Got Away", each distinctive in presentation with costume and lighting changes, a must for Garland fans. Also included is a very brief deleted number within the "Born in the Trunk" sequence", "When My Sugar Walks Down the Street". Three vintage pieces have been gathered - a brief newsreel piece of the premiere, a four-minute clip of the Coconut Grove premiere party held after the premiere, and most interestingly, a half-hour kinescope akin to the current-day red carpet pre-shows with an amazing parade of period stars expressing little more than good wishes on their way to the theater. Lastly, the theatrical trailers for all three versions of "A Star Is Born" are also included.
helpful•223
- EUyeshima
- Jan 28, 2007
Details
- Release date
- Country of origin
- Language
- Also known as
- Zvijezda je rodjena
- Filming locations
- Church of the Good Shepherd - 505 North Bedford Drive, Beverly Hills, California, USA(Norman Maine's funeral)
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $5,019,770 (estimated)
- Gross US & Canada
- $4,335,968
- Gross worldwide
- $4,349,205
- Runtime2 hours 34 minutes
- Aspect ratio
- 2.55 : 1
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