I really do hate to disenchant—anything. I was tempted to title this “A Star is Fallen.” Which has as much rich connotation as the title of this movie. But then I wonder if that isn’t just what good criticism is for, to prevent art from disenchanting us. Can I recommend this film? Does it enliven the soul more than crush it? There are so many wonderful aspects to it. It does story telling in the medium of the motion picture very well. This is art, done by talented artists. They know their audience and the tools of their craft and they connect the two in a production that is not only entertaining but will grab your emotions in the way they wanted to grab them. But like the movies stumbling alcoholic lead, it is a mix of excellence and shocking evil. Is this just the reality of the world? You have to take the good with the bad. That is the truth, Jesus comes to us and finds us where we are. You can’t make the art you wish people would understand, you have to make the art that works for your audience. But you should bring them up to something better as well. Is the lure of the bottle enchantment? It promises, a sort of bliss. Is it disenchantment to get between a man and his drug of choice? Is it pessimism to remind him that this journey into fairy land will leave him embarrassing himself in the gutter? I don’t think that it is. The Scripture is full of warnings. But as I think of them they all are for the young man. Each generation as it passes down should warn. But there is the reality of the other man, the old man in all it’s meanings. The old man is our decades of wrongs committed and received. The old man is old, his ways are set, his path is known. So there are two camps. The young man who needs a warning and the old man who needs the grit and shock to speak to his scarred soul.
First to the young man, to the child held in Jesus’ arms. Woe to you who corrupt him. And there is much to corrupt here. The whole opening scene is like those violin shrieks at the climax of a horror flick. And it really makes no sense. It seems to be nothing more than a woke dog whistle to the lapping QWERTY community. It makes absolutely no sense to discover a female singer in a drag bar. It’s not witty or provoking, it’s just messed up. There was a time when the gay person would make for a good plot twist, like a man who was left-handed in ancient Israel. But now it’s just gratuitous perversion. And then there are all the casual sex scenes. I think it is precisely this type of portrayal which has led to the casual sexual reality which so many teens now live in. This is not love, it’s lust and when you wake up in the morning , the fools gold is seen for what it is. And the movie does get to some of this reality. In the beginning, foolish couples come together and all the flaws and the realities are hidden. Young lovers think they are invincible, but they often end in tears. And so A Star get’s this right. But this is the wisdom of hindsight the old man can appreciate, the young will only be enticed.
But this is not the worst thing. Crying in a mansion, now a star, over a tragic love story is nothing compared to turning to drugs or prostitution, homeless on the streets of La La Land. There is a certain annoyance at the film/music industry for their constant self adulation. They make movies and write songs, about making movies and writing songs. As with the gay theme, this used to be a device of self aware writing. Authors made jokes about their own art, which is to come out from behind the curtain of the artifice. Ovid said the purpose of art was to conceal itself, but more on him later. This device used to be subtle, now it is little more than formulaic narcissism. The problem is summed up in one line describing a love song in the movie “It just fell out of me, I guess and onto this page.” Which is such an amazing lie. Not only did this song not happen this way, it wasn’t even written by uber talented Gaga. It required at least three other authors, and probably a whole supporting cast. These things don’t just happen. I hesitate to say ‘spoiler’, because good art can’t be spoiled by revealing plot lines. But while it is good to keep up hope and to dream big. Rock stars don’t walk into your bedroom and whisk you away to be rich and famous. It doesn’t even happen to one percent, maybe one percent of one percent. And that’s fine, a thing worth doing is worth doing badly. Singing and writing for it’s own sake is fine. But you should be prepared for the hard work. Especially in a culture so driven by envy as our is. Success takes a lot of blood sweat and tears, on your part individually not to mention the grand scale. Without the men of old, pioneers carving civilization of out a wilderness fighting beasts, and weather and sinister men we wouldn’t be playing around writing music at all. On a larger scale it took almost 1200 years from when Jesus the Christ laid down his life for his bride, for the first love song to be written, Le Roman de la Rose. Before that romance was not a thing. However you take the Song of Solomon, no one took it the way we do until Guillaume de Lorris, or his world, created his poem. Some suggest that Ovid did the same thing 2000 years ago but his amores are generally thought to be satire. And so this elaborate scaffold built by our forefathers is simply discounted. Christ bids men to consider the cost, before foolishly rushing in. You probably won’t become a rock star, and even if you do, there is a high cost. Again the film got to some of these themes. Ally’s father lives his live in obscurity, believing he had the talent of Sinatra without the random luck. Jack’s brother is always the voice of reason, reminding us that the reality behind those rose colored glasses is thorny. Hit movies don’t just happen they require thousands of hard working people, and a decadent culture. And good writing requires countless hours of good reading, good listening. You can’t work out what you haven not worked in.
There is another lesson mostly ignored, also from Ovid. He spoke for the ancient pagan world in his Metamorphosis. Things are always changing into other things. It just happens. If the fates decide or maybe just because. Darwin took up his mantle and so fish evolved into monkeys and on to men. But that’s not how it happens. Bad men stay bad, and they certainly stay men. The film is on point for a bit. Change requires a great shock and even then a lot of hard work is required to recover, sober up, go a different way. We all need the blood of Jesus and real repentance when we hit bottom. This world required a great creator, a storyteller, putting each element in it’s rightful place. And when you leave your place only destruction happens. Men don’t become women. Everyone doesn’t become a movie star because they want it. And alcoholics aren’t saved by their energetic loving young wives. A Star only get’s one of these right. Suicide doesn’t morph into sacrifice, it is a selfish thing, again the voice of reason “it was his fault”.
But the movie is very beautiful as a tale to the old man. This is the reality of our world. Each and every young person is dropped into this mess to find their way. We can’t have the ideal world, we can’t have the ideal song, we can’t have the ideal relationship. We have to make the best of what we do have. And so the poetry of the music isn’t Dante or T. S. Elliot, but it is ours. It speaks to the American in our language, with our rudimentary working knowledge of music. I wish it could be better, that we could desire more and work with richer poetry, but we don’t, we are here. The movie even gets to this struggle with the pop pull of the new star vs the rich texture of the old cowboy. This journey has to be at least a little autobiographical for Gaga. The contrast is stark, and true.
So as to this love song, which didn’t just happen, it has some truth in it. Many of us are tired of broken relationships, and “giving our heart away to another stranger” sounds like a familiarly horrible proposition. “I don’t want to start another fire.” The past has been a mess, we want to grab on to something young and undefiled and hold onto it forever. All performed by Gaga reaching down into her soul and evoking the best of our diva canon, Mariah Carey, Celine Dion and Whitney Houston. Both rhyme and reason together, and that rhyme can powerfully pull at your emotions. Which may be what we need to awake us from the ashes of our loves lost. The textured vocals and the crescendo, climaxing in the final frame will grab you, as if you don’t ever want to hear another song again, in it’s finality. What a farewell.
And the love relationship is a completed sale. In fact, Gaga and Cooper are still selling it on the stage of the Oscars and in the tabloids to this day. I have always known Gaga had talent in theory, despite the reality as it is applied to her freak show. Madonna Part Two. Sadly because that is what the American people wanted. Americans don’t long for Catholic school girls beautifully executing delightfully artful sonnets. We want angsty semi-clad pop tarts, in meat dresses who may or may not be alt-sexual. And so we made a Gaga. Until now I have avoided this parade. But she really does sell the story from the screen with Bradley Cooper. Even given all the gratuitous flirtations with evil, it comes together as a true thing. I really believe she did love him, thick and thin. She stood by and wanted him to be remade, and he almost was. He really loved her, he gave her the chance, he gave her what he had. He passed on the fire he once sang, that needs to be spread to the world. But sometimes it’s too little too late. The despair of failure, he couldn’t hold her back. He didn’t cling to the success, he drowned in the flaws. In the end he did not pull her down, though he did break her heart. Emotional journeys should be for the purpose of setting us back down on earth better men. Old made new. And there are a few of these moments pressing through the looking glass here. So this only to think through the siren song and put some true words to the conversation of this mess we call Hollywood.