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A carregar... A Star Is Born [1954 film] (1954)por George Cukor (Director)
   Nenhum(a) Ainda não há conversas na Discussão sobre este livro.  biche1968 | Jan 23, 2021 |   A1 - (2:44) Gotta Have Me Go with You - Judy Garland A2 - (3:39) Man That Got Away - Judy Garland A3 - (14:12) Born in a Trunk : Medley Containing: I'll Get by / You Took Advantage of Me... - Judy Garland B1 - (3:09) Here's What I'm Here for - Judy Garland B2 - (2:41) It's a New World - Judy Garland B3 - (6:42) Someone at Last - Judy Garland B4 - (3:56) Lose That Long Face - Judy Garland  Lemeritus | Feb 13, 2014 |
The 1954 remake of A Star Is Born, starring Judy Garland, marked a major cinematic comeback for the actress, her first film since being dropped by MGM in 1950 and a major box-office hit that earned her an Academy Award nomination. The soundtrack album, which, in its initial release, consisted solely of Garland vocal performances (two of them, "Here's What I'm Here For" and "Lose That Long Face," cut from the film shortly after it opened), marked another kind of comeback for her. As with her film career, it was her first recording since 1950's Summer Stock soundtrack to achieve commercial success; it peaked at number four on Billboard's LP chart and never went out of print over the next 50 years, with this expanded version released in 1988 and an even longer one in 2004. In its original version, it consisted of seven tracks, six of them written by Harold Arlen and Ira Gershwin. Five of those are good tunes, but one, the Oscar-nominated torch song "The Man That Got Away," became a standard and a signature song for Garland. The other highlight of the album is the 15-minute "Born in a Trunk" medley, a virtual musical autobiography that seems to refer as much to Garland herself as to the character she plays in the movie. Leonard Gershe and an uncredited Roger Edens (Garland's longtime associate who had written much special material for her in the past and could not be named because he was still under contract at MGM) assembled it and wrote connective material, resulting in a tour de force. This 1988 reissue differs from the original one in three ways. First, it adds a two-minute "Overture"; second, unlike the original, which consisted of the studio prerecordings without any of the added film sound effects, this one does have sound effects and therefore comes closer to what the actual film soundtrack sounded like; and third, unlike every previous release, it is in true stereo. Está contido emTem como guia de referência/texto acompanhante
Drunken waning movie star Norman Maine meets showgirl Esther Blodgett when he literally stumbles into her act one night. A friendship develops which blossoms into romance but tensions increase as Esther's career takes off while Norman's plummets. Não foram encontradas descrições de bibliotecas. |
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 Google Books — A carregar...GénerosSem géneros Sistema Decimal de Melvil (DDC)791.43The arts Recreational and performing arts Public performances Film, Radio, and Television FilmClassificação da Biblioteca do Congresso dos EUA (LCC)AvaliaçãoMédia: (3.58)
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C'est grâce à son regard et à son amour à lui qu'elle parviendra au sommet. Quant à elle, elle s'imaginait que son amour sans limites pour son pygmalion le sauverait de ses démons ; elle assistera pourtant, impuissante, à sa déchéance précipitée par la cruauté d'Hollywood.
Cukor s'est largement affranchi de l'histoire de la jeune Esther Blodgett (qui sera d'autorité rebaptisée Vicky Lester pour les besoins du show-business) avant son ascension, pour s'attarder sur le dérouelement de sa carrière de chanteuse de cinéma. Cela donne lieu à de nombreuses scènes chantées dont certaines sont trop longues pour ne pas dire interminables, même si la voix et la pétillance extraordinaires de Judy Garland sont réjouissantes.
Cukor a toutefois choisi par ailleurs de garder quelques scènes et dialogues du film original.
La version de trois heures que j'ai regardée comporte de nombreuses images fixes avec des dialogues ; celles-ci ont été intégrées au film sans que la chronologie initiale souhaitée par le réalisateur ne soit connue. Cela ajoute à la confusion de ce film décousu qui comporte par ailleurs quelques belles scènes étincelantes (ah ! la merveilleuse scène de Judy Garland répétant un soir devant son mari le spectacle auquel elle a travaillé dans la journée).
L'amour que se portent les deux artistes aux antipodes de leur carrière est touchant et même assez bouleversant dans le caractère fatal et tragique qu'il contient.
Un film qui fait hélas fi de cohérence et d'ordre mais qui demeure une oeuvre tout à fait intéressante car portée par un grand metteur en scène et de splendides comédiens. (