IMDb > A Star Is Born (1976)
A Star Is Born
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A Star Is Born (1976) More at IMDbPro »

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Overview

User Rating:
6.5/10   4,302 votes »
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Director:
Writers:
William A. Wellman (1937 story) and
Robert Carson (1937 story) ...
(more)
Contact:
View company contact information for A Star Is Born on IMDbPro.
Release Date:
17 December 1976 (USA) See more »
Genre:
Plot:
A has-been rock star falls in love with a young, up-and-coming songstress. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Won Oscar. Another 6 wins & 6 nominations See more »
User Reviews:
Sentimental favorite; surpasses the previous versions in many ways See more (47 total) »

Cast

  (in credits order) (verified as complete)

Barbra Streisand ... Esther Hoffman

Kris Kristofferson ... John Norman Howard

Gary Busey ... Bobbie Ritchie
Oliver Clark ... Gary Danziger
Venetta Fields ... One of the Oreos
Clydie King ... One of the Oreos
Marta Heflin ... Quentin
M.G. Kelly ... Bebe Jesus

Sally Kirkland ... Photographer

Joanne Linville ... Freddie
Uncle Rudy ... Mo

Paul Mazursky ... Brian
Stephen Bruton ... Speedway
Sammy Lee Creason ... Speedway (as Sam Creason)
Cleve Dupin ... Speedway
Donnie Fritts ... Speedway
Dean Hagen ... Speedway

Booker T. Jones ... Speedway
Jerry McGee ... Speedway
Art Munson ... Speedway
Charles Owens ... Speedway
Terry Paul ... Speedway
Jack Redmond ... Speedway
Bobby Shew ... Speedway
Mike Utley ... Speedway (as Michael Utley)
Montrose ... Themselves
Bill Graham ... Himself
Rita Coolidge ... Herself

Tony Orlando ... Himself
rest of cast listed alphabetically:

Aesop Aquarian ... Recording Engineer - 'Meow-Chow' Catfood Commercial (uncredited)
Brent Carpenter ... Extra (uncredited)

Robert Englund ... Marty (uncredited)

Sandy Helberg ... Kevin (uncredited)
Roslyn Kind ... Table Guest at Grammy Awards (uncredited)

Maidie Norman ... Justice of the Peace (uncredited)
Neil Norman ... Record Producer (uncredited)

Susan Richardson ... Groupie in Limousine (uncredited)

Directed by
Frank Pierson 
 
Writing credits
William A. Wellman (1937 story) and
Robert Carson (1937 story)

John Gregory Dunne  &
Joan Didion  and
Frank Pierson 

Jonathan Axelrod  uncredited
Jay Presson Allen  uncredited
Alvin Sargent  uncredited

Produced by
Jon Peters .... producer
Barbra Streisand .... executive producer
 
Original Music by
Roger Kellaway 
 
Cinematography by
Robert Surtees 
 
Film Editing by
Peter Zinner 
 
Production Design by
Polly Platt 
 
Art Direction by
William Hiney 
 
Set Decoration by
Ruby R. Levitt  (as Ruby Levitt)
 
Costume Design by
Seth Banks 
Shirlee Strahm 
 
Makeup Department
Barbara Lampson .... hair stylist
Kaye Pownall .... hair stylist: Ms. Streisand
Allan Snyder .... makeup artist
Marvin C. Thompson .... makeup artist
 
Production Management
Howard Pine .... production manager
 
Second Unit Director or Assistant Director
Michele Ader .... second assistant director
Stuart Fleming .... assistant director (as Stu Fleming)
Edward Ledding .... second assistant director (as Ed Ledding)
John Slosser .... additional second assistant director (uncredited)
 
Art Department
Joe Acord .... construction coordinator
Arthur Friedrich .... property master
Bruce Wayne Mecchi .... leadman (uncredited)
Eugene J. Reed .... carpenter (uncredited)
 
Sound Department
Robert Glass .... dubbing mixer (as Bob Glass)
Robert Knudson .... dubbing mixer
Marvin I. Kosberg .... sound effects editor
Tom Overton .... production sound mixer
Josef von Stroheim .... sound effects editor
Dan Wallin .... dubbing mixer
Stephen Katz .... stereo sound consultant: Dolby (uncredited)
Phil Ramone .... sound mixer: live recording (uncredited)
 
Special Effects by
Chuck Gaspar .... special effects
 
Stunts
Lightning Bear .... stunts (uncredited)
Hal Needham .... stunts (uncredited)
Spanky Spangler .... stunts (uncredited)
Ron Stein .... stunts (uncredited)
 
Camera and Electrical Department
Richard Barth .... assistant camera
Jules Fisher .... concert lighting
Daniel R. Jordan .... key grip (as Dan Jordan)
Earl Kennedy .... gaffer
Victor Nikaido .... assistant camera
Charles W. Short .... camera operator
Robert C. Thomas .... camera operator (as Robert Thomas)
Ron Grover .... still photographer (uncredited)
Serge Poupis .... assistant camera: second unit (uncredited)
John R. Shannon .... still photographer (uncredited)
Johnny Walker .... second assistant camera (uncredited)
 
Casting Department
Dianne Crittenden .... casting supervisor
Frank Kennedy .... extras casting (uncredited)
 
Costume and Wardrobe Department
Seth Banks .... wardrobe
Shirlee Strahm .... wardrobe
 
Editorial Department
Marilyn Madderom .... apprentice editor
Michael E. Polakow .... apprentice editor
Florence Williamson .... assistant film editor
 
Music Department
John Caper Jr. .... music editor
Phil Ramone .... music & live recordings producer
Barbra Streisand .... musical concepts
Paul Williams .... music supervisor
 
Transportation Department
Alan Falco .... transportation
 
Other crew
Scott Conrad .... special sequences
Betty Crosby .... script supervisor
Wayne Fitzgerald .... title designer
Gene Levy .... production auditor
Joan Marshall .... assistant: Ms. Streisand (as Joan Marshall Ashby)
Jeff Werner .... special sequences
David Winters .... choreographer
Laura Ziskin .... assistant: Mr. Peters
Dominic Santarone .... caterer (uncredited)
Ruth Santarone .... caterer (uncredited)
 
Thanks
Grace Davidson .... special thanks
Joyce Sullivan .... special thanks
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
139 min
Country:
Language:
Color:
Color (Metrocolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
The first Dolby System film released with rear channel information, making it the first Dolby surround sound film.See more »
Goofs:
Continuity: After the fight in the mud, when John decides to shave his beard, the dirt on Esther's clothes changes.See more »
Movie Connections:
Soundtrack:
EVERYTHINGSee more »

FAQ

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14 out of 26 people found the following review useful.
Sentimental favorite; surpasses the previous versions in many ways, 20 April 2006
Author: robb_772 from United States

A blockbuster at the time of it's original release (it was the second-highest grossing film of 1976), the third screen version of A STAR IS BORN has always divided critics and fans alike. The film open to scathingly negative reviews, however, $5.6 million-budgeted picture went on to gross over $150 million at the box office and won an Academy Award and five Golden Globes. It's not without some irony that Streisand's most commercially successful film would also remain her most controversial. For every ten fans who state that STAR is Streisand's best film, there are always ten more who claim it is the weakest film in her filmography. Although both sides have some merit to support their claims, it should still be noted that the seventies take on A STAR IS BORN remains one of the most touching and highly entertaining showbiz dramas that Hollywood ever produced. For my money, it's the best version of the often-told tale.

The film is solidly enjoyable and throughly absorbing. Changing the setting from the old Hollywood studio system to the competitive world of the music industry was actually a great idea, and the screenplay forges a realistic contrast between the characters' romance and their careers. This is the main area that the 1976 version of A STAR IS BORN actually surpasses it's classic predecessors. For example, the film is especially successful when depicting the clashing personal and professional difficulties during recording sessions and the never-ending phone calls that interrupt Kristofferson's songwriting attempts. This version of the story is also more believable in it's portrayal of the lead characters. For example, the female leads in the two previous versions were so virtuous and self-sacrificing that they came off as saints. On the other hand, Esther, the female lead in this version, is not only portrayed as being strong and passionate, but also flawed and conflicted. This makes her feel more "real" than the Janet Gaynor or Judy Garland characters felt in the previous films, and makes the story that much more effective.

The performances are all on target, even if some of the supporting characters aren't fleshed out enough. If you're looking for an actress/singer who can walk the fine line between tough and vulnerable without making herself seem like a script contrivance, Streisand is definitely the girl you want. She's one of the few film stars who can make even the most banal dialogue seem fresh and natural, and, as usual, she manages to make a strong emotional connection with the viewer. Simply put, her Esther is a fully-realized, three-dimensional human being. Kris Kristofferson may not get much respect now for his laid-back characterization, however, he's always interesting watch and displays a magnetic charisma here that he seldom displayed elsewhere in his career. Kristofferson actually received rave reviews at the time from NEWSWEEK, TIME, and even the NEW YORKER's usually vicious Pauline Kael. Gary Busey and Paul Mazursky also give believable performances, but both have a fairly minimal amount of screen time.

The film's soundtrack recording was also a massive success, hitting the #1 on Billboard's Hot 200 and selling over four million copies in the US alone. The Streisand-composed "Evergreen" (with lyrics from Paul Williams) is unarguably one of the most gorgeous songs in contemporary pop, brought to even-further life by an absolutely incomparable vocal performance from Streisand. The rest of the film's original songs (mostly composed by Williams and Rupert Holmes) are pretty good as well, and Streisand sounds fantastic - her live solo numbers remain in the memory long after the rest of the movie has faded. Streisand's vibrant performances bring "Woman In The Moon" and "With One More Look At You" to thrilling life, and make even sillier numbers like "Queen Bee" work far better than they have the right to. Kristofferson's solo numbers sound somewhat tuneless, however, that may have been intentional since he is playing a singer in decline.

Though naturally dated in some respects (it definitely does reflect the decade in which it was made), the seventies take on A STAR IS BORN still holds up remarkably well. The film is well-mounted and slickly produced, the chemistry between the leads is extremely powerful and always feels genuine, and Streisand has two emotional scenes near the finale that are both aching effective. In conclusion, A STAR IS BORN is not only entertaining and moving, but it also transcends all criticism.

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