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Esther Blodgett is just another starry-eyed farm kid trying to break into the movies. Waitressing at a Hollywood party, she catches the eye of alcoholic star Norman Maine, is given a test, and is caught up in the Hollywood glamor machine (ruthlessly satirized). She and her idol Norman marry; but his career abruptly dwindles to nothing Written by
Rod Crawford <email@example.com>
The movie's line "Hello, everybody. This is Mrs. Norman Maine." was voted as the #52 of "The 100 Greatest Movie Lines" by Premiere in 2007. See more »
In the night court scene, the judge refers to the "commonwealth" but the movie is set in California which isn't one of the states to have commonwealth status. The judge should have referred to the "state" instead. See more »
That elopement thing is out; we're gonna have a wedding. Where are we going to have it?
The customary place, I believe, is a church.
Nah! It's been done. This has gotta be something big... The beach! I can visualize it. The bridesmaids in bathing suits; twenty thousand Santa Monica school children spelling out the word "love"... but is it big enough?
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Fredric March gave a magnificent performance, probably the best of his career, as Norman Maine, the actor whose career is in the descendant as that of his wife, Vikki Lester, is in the ascendant in this, the first 'official' version of "A Star is Born", (the 1932 film "What Price Hollywood" roughly told the same story). March displays just the right degree of brashness, of knowingness, and a combination of ego and a real actor's almost complete lack of ego. It's a miraculous piece of work.
As Lester, Janet Gaynor is touchingly blank but the star quality she is meant to display seems conspicuously absent; (in the 1954 musical remake Judy Garland was almost too much a star). It seems inconceivable that she could eclipse March on screen (even with his drinking). If Lester is a star and possibly a great actress Gaynor keeps the secret to herself.
The script for this version was partly written by Dorothy Parker and Alan Campbell and it shows. It's an acerbic and, at times, savage movie about the movies, quite cynical for a major studio picture of it's day. It is very well directed by William Wellman who draws first-rate performances from the supporting cast, in particular Lionel Stander as a heartless, slime-ball studio hack. This remains the best of the three versions to come thus far.
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