On a train trip West to become a mail order bride Susan Bradley meets a cheery crew of young women traveling out to open a " Harvey House " restaurant at a remote whistle stop to provide ... See full summary »
Norman Maine, a movie star whose career is on the wane, meets showgirl Esther Blodgett when he drunkenly stumbles into her act one night. A friendship develops, then blossoms into romance before tensions increase as Esther's career takes off while Norman's continues to plummet. Written by
Col Needham <email@example.com>
The 15-minute "Born in a Trunk" medley was designed by Roger Edens and Leonard Gershe. It was inserted into the film when it was decided that none of the three Arlen/Gershwin songs submitted supplied an acceptable conclusion to the first half of the film. Mr. Edens, Judy Garland's musical mentor during her MGM years (1935-1950), also crafted the around-the-world-in-a-living-room concept for "Someone at Last" (music by Harold Arlen, lyrics by Ira Gershwin). Still under contract to Metro in 1954, Roger received no screen credit as either contributor or co-writer (with Mr. Gershe) of the "Born in a Trunk" song. Credit was finally given the duo when the film was restored years later. See more »
Although the interior of Esther's apartment appears to be situated on a hill with a panoramic view of Hollywood, the address she gives Norman is in the flatlands of Hollywood with, at best, a second story view of nearby buildings. See more »
[Norman has returned to find Esther in a nightclub. Esther walks over to him with a small laugh]
Hello, Mr. Maine. You turn up in the strangest places.
Don't I now?
[stops laughing, suddenly shocked]
And you're cold sober.
Well, you'd better make the most of it!
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I was disappointed with many aspects of a Star is Born. The restored version of the film is more than an hour too long. There are so many drawn out scenes and musical numbers that any tension between the characters is completely dissipated by the time we come to the tragic ending. The two great scenes -- Judy Garland's night club performance of the Man that Got Away and her song and dance routine in her living room using a lamp shade as a Chinese hat -- don't make up for all of the other overly long and unnecessary (as far as the plot or the character development is concerned) musical numbers. This is a showcase for Garland's considerable musical talents, it is not a well scripted movie. It's ashame because James Mason is terrific in his scenes.
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