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A Star Is Born

A Star Is Born

Drama · Music · Romance · 1976

Drunken, has-been rock star John Norman Howard falls in love with unknown singer Esther Hoffman after seeing her perform at a club. He lets her sing a few songs at one of his shows and she becomes the talk of the music industry. Esther's star begins to rise, while John's continues to fall. She tries desperately to get John to sober up and focus on his music, but it may be too late to save him.

Movie details

A Star Is Born

“For anyone who has ever loved...”

1976 Drama · Music · Romance 2h 20m

Critical arithmetic

One number, for now.

TMDB

6.0 / 10

Community rating

Drunken, has-been rock star John Norman Howard falls in love with unknown singer Esther Hoffman after seeing her perform at a club. He lets her sing a few songs at one of his shows and she becomes the talk of the music industry. Esther's star begins to rise, while John's continues to fall. She tries desperately to get John to sober up and focus on his music, but it may be too late to save him.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over A Star Is Born?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Purple Rain

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Where it lives

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Names above the title

The people responsible.

Directed by

Frank Pierson

Written by

Joan Didion · John Gregory Dunne · Robert Carson · Frank Pierson

Barbra Streisand

Barbra Streisand

Esther Hoffman

Kris Kristofferson

Kris Kristofferson

John Norman Howard

Gary Busey

Gary Busey

Bobbie Ritchie

O

Oliver Clark

Gary Danziger

Venetta Fields

Venetta Fields

The Oreos

Clydie King

Clydie King

The Oreos

Marta Heflin

Marta Heflin

Quentin

Court is in session

Put A Star Is Born on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.