By Julie D. Griffin
If your heart wants deep for a tear jerker, then watch this 1976 film with a great expectancy of getting a drench touch of wet face. ~ Julie Griffin
The original and realistic remake of the 1937 Janet Gaynor and the 1954 version with Rainbow inspiration actress Judy Garland, Barbra Streisand stars as the 1976 A Star Is Born, one Esther Hoffman. A true Lady & The Tramp story, for those who find great difficulty preparing for just a speech of a word phrase, Kris Kristofferson shows Hoffman just how to let go on stage. At first, Streisand has a hard time holding the karaoke gig up as Kris after his large rock concert ambles drunk onto her small time show floor and drinking and with roudy friends who show up, like a bad welcome at The Whiskey, he keeps getting louder and louder and soon he and his friends break out with a loud argument that leads to a knock down and drag out. He takes the arm of Esther (Barbra) and they head for the alley. At his spanse of a home she begs him ~ Asks him to tell her what he is. Rich or poor. He lives like some kind of a Saddle Tramp. And yet he has all this money.
He says, come home with me. And she gives an old black limo an instruction of her own. To get philosophical though and to weigh that the film reflects a later sadness about the intimate hours of love spent together, a certain nonrepresentation, at a time that women began to work on the set as more than only cooking and housework as duo performer or independent performer separate from a spouse. Esther grows famous after her husband pushes a woman who goes from rags to more than his riches onto the stage. He reckless drives a motorcycle on stage a biker fan gifts him on a whim and then falls or rather jumps flying on top of the audience, and judging by the great variety of film school camera shots and angles, each technical venue ranges from the quality lovemaking closeups to each birds eye view of the one infamous huge rock concert scene, and otherwise exhibit throughout the film. The great emotional pull of the saga of Esther taking her later rock star husband from alcoholism to sobriety and from depression and pain to peace, stability and tranquility ~ The variety of the beautiful emotional bonding the two grow with and share uphold the gracious beauty of the songs both written and sung by Streisand and Kristofferson together and by independent space. Although it might seem the two an unlikely pair, once they run away and get married and begin a life together, even after a brief and whirlwind romance, they seem paired well. It is only just, and just as the philosophical motif of the story states throughout the film what happens as his wife, the star born, and he lets the band go while giving nurture to her. The theory exists that he thought his life on the stage over and afraid of making a burden out of himself on her, he ended his.
Prior to the serious stage of marriage, famous or not Esther after he first left her at a large concert with crowds around her of a great cheer, the helipcopter flies off and later she asks him a second parody. Is it airplane or helicopter. And just like the custom yellow chopper denside of his original large home of the first rock star, her husband John, like what was stolen from his wife Esther later a lot like what happened on the set of the farm home they build together later. The goodbye boy, poor John gets drunk and floats around shooting at paparazzi snipers overhead before he lives with Esther. The prop of a salvation army green coat wrapped around a faded coral shirt, does a good effect to show how the rock star tired of travelling all over wanted a break, a time to settle some, but also Esther helped him find out how to love himself. Her destruction of his gone boy tape after the frustration of her loss only seemed to accentuate how sometimes famous couples must guard from a life that seems to emanate spontaneous outward show and with limited time for introspection, and a road which may waiver.