So I think she’s a pretty cool lady all around. I think it’s cool to realize how much of an effect this movie has had on film history. If you are a die-hard fan and you watch it for Christmas, even though it’s not a Christmas movie, you’ll notice the big moment at the end is that all through the movie she’s defined herself as Holly Gennaro which is her maiden name because they’re separated but in the end when they make up and she runs to the police and they say something about our you so and so she says Holly Maclean. She takes his name back. So she’s doing exactly a homage to that moment. In the same way, some 20 years later — this is 1988 — in Notting Hill, we finally have a guy who doesn’t mind when they call him Mr Scott which is Anna Scott’s name right? That’s not his last name but he’s now fine with a wife who is five million times more famous than he will ever be. So our society had come to this point one assumes in 1999 and Dorothy yourself has been homaged and written about. Fitzgerald who knew her personally wrote about her in The Last Tycoon. She’s one of the characters in there. She’s in this Broadway play as a character and if you like the Gilmore Girls at all Amy Sherman Palladino’s production company is called “Dorothy Parker Drank Here.” That’s how popular she maintains in the modern world. I got a bunch of clips you can see at another time because we don’t have time. I always like to offer up a bibliography because you should know there’s a lot of stuff you could study and that’s it. That’s everything I can say in a nutshell about A Star is Born.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
I think it’s important to remember what it could have been if we’d had a chance to see a Whitney Houston version. I think that would have been an incredible movie. I’m still bummed I’m never going to get to see it and I think it’d really be cool if Dorothy had lived to see it all but she didn’t. She died in 1967 and I think it’s interesting to point out why it is Martin Luther King in this picture. People may or may not know that if you buy any of her writing — if you buy the portable Dorothy Parker — you will find that she gave all her money, when she died, to the Reverend Dr. Martin Luther King. She did not know, of course, that he would die a year later and all of his estate went to the NAACP. So if you buy any of her writing, you’re supporting the NAACP and that’s because even as a young woman at the age of 27 she was reviewing broadway plays and she reviewed Emperor Jones and she had this quote about how people — how the producers in Broadway at that time — because it wasn’t you know she wasn’t involved in Hollywood — they were wasting the genius of the African-American community. Obviously, she’s using word of the day but she recognized the genius that was being lost. So she wanted to support the cause of social — civil rights — social justice and civil rights and I think that’s pretty cool.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
Think about how men feel today. I think men have changed. That’s why they gave more attention to Bradley Cooper’s character. There are seven million men who are sort of stay-at-home dads. That’s a huge thing. That’s a huge difference. There are a lot more men getting used to the fact that their wives will have more money than they do right? Colleges are like 60% women, 40% men which means you’re likely to be in a marriage where your wife will make more money than you, and your generation is likely to be more comfortable with that. I think that’s a good thing. I think it’s important to see that the female characters grow a little bit in every one of these iterations. The last two are more ethnic women. That wouldn’t have happened before right? Barbara is so clearly a Jewish woman and very proud of it and Allie represents herself as a Sicilian American woman. Her father is a Sicilian guy who owns a bunch of limos, you know. He’s a driver for a limo company. This is a very New York Sicilian kind of thing. In both cases, the women in these last two films — the female performers — wrote the songs they had their characters sing, and they both won Academy Awards for writing one of those songs. Which is a huge deal right to me again making it more of a female franchise. Allie accepts more of the stuff that happened to Janet Gaynor. You know, look at me. Check me out. Make sure that you know I can change. I’ll do anything you want to be successful. She accepts the dancers and things she doesn’t need and in this case, people feel like she was more on her own because she didn’t say I’m Mrs. anybody but she took his name which was again following that pattern of respecting him. So I think it’s really important to remember them.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
This is the only time they made separate posters and focused on them. Almost every movie iteration you see them both together because it’s a love story. That’s what you’re being told in that poster. I don’t know what these posters are telling you except do you know the title of the movie then you’ll understand but I had several students who never knew it was a remake when they went to see it. So they had no idea. The title meant nothing to them. It’s always the female that carries the story right? This is this giant poster of Ally. That’s what this is all about. All these women are the reasons these movies were made in the first place. That’s what drew the box office. That’s what drew the studios to support and every one of these is the story of a woman doing something new against the culture of her time. Facing one of the various waves of feminism right? If you think about 1937 women had had the vote for under 20 years. A bunch of women were still not voting because their husbands wouldn’t let them even though it was legal right and 54 we’re 10 years after the end of the war and the Rosie the Riveter and all that stuff when women were told to go back home, put on your pearls, and start vacuuming right? Don’t try to be in the man’s world. That’s your job. We get around to 76 and we’re in the second wave of feminism. That’s just three years after Roe versus Wade and we’re still doing the equal pay marches. We’re still looking for equal pay and if you get around to the current version, it’s ten years after the Lilly Ledbetter act, which gave fair pay to people doing the same job. So each of these movies takes place in their female characters working truly in a world where there were still feminist issues going on. Which i think is also part of what Dorothy started with.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
In this scene, and these are quotes from Bradley Cooper as he was making the film he’s being interviewed right, he says he’s on stage trying to support her but his demons won’t let him right? So we still have the debacle but it’s not because he wants to ruin her night. He’s trying to be there to support her and then it’s embarrassing and terrible and sad and also he says that at the end of the movie, she’s just starting right and what she’s going to create is going to be bigger than what we’ve seen prior. That means her movie isn’t this movie — that her movie is the next one which will never be made. That means this is the Jackson Maine story and that’s not what I signed up for. I signed up for the star — the female star — being born. So I think that’s a huge change that he as a male writer has brought to this franchise. You look at the writing credits, right? So if Bradley wrote it with this guy Will Fetters. If you go to the Writers Guild when you have time when it’s open again in the library, they have a copy of the first draft and if you read it to compare to the film that you saw in 2019 you will be shocked because it is not brilliant. It is this guy who’s an Academy Award winner for Forrest Gump and I think he has two Academy Awards, Eric Roth who came in to do the rewrite that really molded the piece but he’s taking the ideas that Bradley Cooper had which are to focus more on Jackson Maine’s character. They base themselves on the Moss Heart screenplay, right? So by the time we’re done with this Dorothy’s name has finally disappeared entirely even though all the bones of it are really still there and really still her if you ask me.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
Now I tend to call this the Bradley Cooper version and as Jacob asked me”Do I like it?” I like it to the extent that I like the bones of this story but because a male wrote it, and had two other male screenwriters rewrite him, it becomes his story. It becomes the Jackson Maine story. We have much more focus on his character, his backstory, and while giving a female superstar one name seems modern, in many ways it erases part of her own history. What is her actual last name right? A female character without a last name is not one who’s been thought through all the way, I would say in reading a script. So in this case, we focus so much on his backstory. So much about his own family. It’s his brother that’s part of the story. So much is more about the star who’s dying than the star who is being born in this movie. She doesn’t really have the same agency. Certainly not that Barbra Streisand gave her character. Really not that we had out of Julie or Janet either.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
So the idea lagged for a while and then all of a sudden the Lady Gaga version comes up, which I’m sure most of you have seen. Let’s see — similarities. She’s not a rock star so much as she’s a pop star and that’s because we have the dancers behind her and we’re sort of working in a different world. He more or less though is a rock idol because it’s cooler for boys to do rock than pop right? We giggle at Justin Bieber. We think rock stars are hot. So he maintains the rock business but here’s a change that Bradley Cooper — who’s one of the writers on the movie definitely made — his dude is not jealous of her. He is supportive and happy. His problem is that he’s an addict and he can’t break his addiction. It has nothing to do — he’s an addict before he meets her. Her popularity does nothing has no change to that. So I think that’s an important difference and we’re going to talk about why that difference happens. Same thing they’re going to write a song together –a beautiful song. Again that’s a very sexy thing for them to do. At the Grammy Awards, he’s going to embarrass her but not out of anger that she’s getting attention and I’ve got a little slide I’m gonna show you on that. We’re gonna use the “one more look at you” line, so Dorothy Parker is still hanging out not only in the plot but in these lines. This time her guy — and they call him Jackson Maine because Norman is boring and so is John by the time we get to 2019. What we do is — he doesn’t cheat on her. In the other ones the woman finds the guy cheating because he finds another young girl that you know will make him feel better because his wife is better than he is. He does not do that. Bradley Cooper did not want his character to do that. Like Kris Kristofferson, though, he will commit suicide essentially on screen. We’re gonna know what he’s doing and it’s not off — lose his body and nobody has to see him. She’s gonna see his body when they find him and in the more modern world, if you want to call it that, she is just Ally like Cher is Cher right and Beyonce is Beyonce. She is Ally. So at the end of the movie, she can’t change her name but she does in fact introduce herself as Ally Maine. So she establishes that last name repetition from the previous versions.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
Here’s something that fascinates me. I remember reading this in the trades and how cool it would have been when they thought about the third remake. This is obviously some 15 years ago now. It was a natural for Whitney Houston. You want a famous female singer. You want this story and she had just done The Bodyguard with Kevin Costner which had her be a famous singer right and she has as you know — falls in love with her bodyguard, in this case, etc etc — which also became a Broadway musical believe it or not and I’m gonna do a little tangent because I love to talk about writing. Why in the heck is Dolly Parton in my picture? She wrote a song called I Will Always Love You in the 50s when she quit her partnership with a male country singer. When they did the bodyguard, they needed a song that would be the song where Whitney Houston’s character kind of declared that she loved Kevin Costner. He’s a country music fan. He said to her you know I know this song that Dolly Parton wrote like 20 years ago. Could you reuse it and she liked it. Whitney Houston said yeah and they went to Dolly Parton because they have to get rights to it because she wrote the song and they were like you know Dolly once Whitney sings this, this will be in history Whitney Houston’s song and Dolly, being a very smart businesswoman, said yes but the writer gets all royalties for the song and I am perfectly happy for Whitney to own the performance. So it was a pretty brilliant move on her part and I’m sure that you’ve all heard that song as a Whitney Houston song. So that came out of The Bodyguard. They were thinking about getting Denzel to be the actor slash rockstar slash whatever they would need him to be in this version or they were thinking about Eddie Murphy. Sadly Whitney Houston died so this version was never able to be made and I think that’s a big loss because if we’re gonna remake a movie you know let’s do new and different things and she would have been brilliant. It would have been great. It didn’t happen.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
Just briefly I wanted to cover the fact that so 20 years later, Joan and John are going to write “Up Close and Personal.” It’s about an ambitious female news reporter, her seasoned older male news reporter, who’s at his peak but he’s Robert Redford so he’s not failing but he’s about to fail. He’s hit the best of his career. They fall in love. They fight. Spoiler — he dies not over trying to help her but like his world is over and it’s time for him to go and then she goes on with that. It’s the same freaking basis but I wouldn’t say that it’s a remake of A Star is Born right? There’s not enough in there that makes it the same.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
So what’s different in this one? In a nutshell right? We’re going to go back to — she’s ambitious but she’s a rock star. He’s a rock idol. We’re still he’s jealous. It’s hard not to be jealous. We’re going to add the component that they write a song together. That is one of the sexiest things you can watch human beings do. Come up with love words that you put to music and sing to each other and then kiss in the middle of singing. It’s friggin gorgeous. It’s a sex scene without everybody getting naked right and this is what we can do in 1976. It stimulates sex. We’re not going to the Academy Awards. We’re going to the Grammy Awards because that’s what we do in rock and roll. We’re still going to keep the line — so Dorothy Parker is still giving us …”one more look at you.” This is a huge deal. This time it was decided that it was — I don’t like the word cowardly — but it was weak to walk off into the ocean. It was far cooler and more dude-like, more testosterone-driven, to for him to get into this brilliantly beautiful expensive car and crash up and it’s just a deeply sad scene, and then, of course, she gets called and she comes to the site and she’s actually touching the dead body, right? She’s like don’t want to leave him and her manager has to pull her off of him and all that stuff. So we’ve changed a few things but we’ve not changed the trajectory of the story and again that’s what an arbitrator would look at right? An arbitrator would say, no the plot points are still. There the decoration is what has changed. So pretty big deal.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
