A STAR IS BORN: A FLAWED MASTERPIECE

George Cukor’s A Star Is Born (1954) is often hailed as a landmark in Hollywood musical drama, celebrated for Judy Garland’s powerhouse performance and its emotionally resonant narrative. Yet, despite its acclaim, the film is not without significant problems—both in its production history and in its final form. These issues have sparked debate among critics and cinephiles for decades.

Perhaps the most glaring issue with A Star Is Born is the infamous studio interference that led to the mutilation of Cukor’s original vision. The film was initially released at a running time of 182 minutes, but Warner Bros. quickly cut nearly 30 minutes after its premiere to allow for more daily screenings. These cuts were made without Cukor’s input and resulted in the loss of key character development and narrative cohesion. In 1983, a restoration effort attempted to reconstruct the original version using surviving footage and production stills, but the damage was already done. The missing scenes—especially those that deepened Norman Maine’s tragic arc—left the film feeling uneven and emotionally rushed in places.

 
While Judy Garland’s performance is rightly celebrated, the film’s portrayal of her character, Esther Blodgett, reflects problematic gender dynamics. Esther’s rise to fame is framed almost entirely through the lens of her relationship with Norman Maine, a fading star whose alcoholism and self-destruction dominate the narrative. Esther’s success is constantly overshadowed by her emotional labor in supporting Norman, culminating in a finale that reinforces the idea that a woman’s ultimate role is to sacrifice for the man she loves. This dynamic, while emotionally powerful, reinforces outdated tropes about women’s roles in both relationships and the entertainment industry.

Even in its restored form, A Star Is Born suffers from pacing issues. The first act is rich with musical numbers and character development, but the second half becomes increasingly melodramatic and rushed. The tonal shift from vibrant musical to somber tragedy is jarring, and the film struggles to maintain narrative momentum. This imbalance is partly due to the missing footage, but also reflects a structural flaw in the screenplay. The film devotes significant time to Esther’s rise, but Norman’s decline—arguably the emotional core of the story—feels compressed and underexplored.

Judy Garland’s performance is undeniably magnetic, but the film leans heavily on her real-life struggles to enhance its emotional impact. Her personal history with addiction and career setbacks mirrors Esther’s journey, blurring the line between performance and autobiography. While this adds a layer of poignancy, it also raises ethical questions about how much the film exploits Garland’s vulnerabilities for dramatic effect. The result is a performance that feels both transcendent and uncomfortably self-referential.

A Star Is Born (1954) remains a powerful and influential film, but its legacy is complicated by production woes, gendered storytelling, and structural flaws. It is a film of breathtaking highs and frustrating lows—a flawed masterpiece that continues to inspire admiration and critique in equal measure...