Lady Gaga / Bradley Cooper: A Star is Born Review of the soundtrack album

adminOctober 9, 2018




A star has been born He has no right to be as good as he is. Directed by Bradley Cooper, the third remake of the 1937 film by David O. Selznick has been in development for most of the decade and at one point counted Clint Eastwood as its director with, impossibly, Beyoncé in the lead role that Lady Gaga now occupies. The immersive and romantic narrative of singer-songwriter Ally (Gaga) and her relationship with veteran rocker Jackson Maine (Cooper) while the latter observes the ancient rocket to stardom is imbued with the kind of rockism that usually provokes mockery in the cultural climate current . But next to the powerful turns of Cooper and Sam Elliott, Gaga shines with an empathic performance that presents a summary of the last years of his career.

Since the aggressive assault of 2013 ARTPOPGaga has moved further and further away from her career with the pop brand that put her on the map around her 2008 debut. Fame; she started singing along with Tony Bennett for 2014 Cheek to cheek and jumped into the studio with Kevin Parker and Father John Misty of Tame Impala for 2016 Joanne. When the curtain rises A star has been born, she is covering Edith Piaf with false eyebrows plastered on her face; Two hours later, she is a full-fledged pop star, complete with backup dancers and costume changes in a fraction of a second. With a totally organic performance and real feeling, Gaga is again involved in the blurring between person and person with whom she has played during a large part of her iconographic career so far.

Even though Gaga's performance culminates a decade of changing pop stardom, there is nothing in the seemingly modern A star has been born It really reflects the real pop landscape of the 2010s. For starters, it's a bit hard to imagine Maine's dyed country-rock playing for such a large audience in Coachella, as it does in the opening scene of the movie; in other places, some modern relevance is achieved through a cameo by Halsey and a fundamental scene centered on the type of tribute to the Grammys of stars that, in general, turns social networks into a unanimous emission of complaints. This disconnection from our reality is totally fine: A star has been born it reaches and finally achieves a timeless vibration that does not require current pop-cultural relevance.

The official soundtrack of the film is equally outdated in its approach, even though its credits include a large number of modern composers from the pop, country and rock spheres. Along with Gaga and Cooper, there are contributions from Jason Isbell, the son of Willie Nelson, Lukas, Mark Ronson, the leader of Miike Snow, Andrew Wyatt, behind-the-scenes pop sorcerers Julia Michaels and Justin Tranter, and the list goes on. The songs are divided into a few different silos, full-bodied blues rockers, tender acoustic ballads, songs of anemic torches and electro-pop robotics, and save a digital flourish or two in the pop songs that make up much of the half of the movie there is very little here that would have sounded out of place in the soundtracks of blockbuster films of past decades.

In its peaks, the album fulfills the promise of its star wattage with some of the most shocking and emotionally overwhelming pop songs of the year. If you've spent half a day on the Internet during the past few weeks, you've probably come across the explosive duo of Gaga-Cooper "Shallow," and deservedly; It's a stormy ballad so iconic at the moment that its place in the Oscars assemblies in the coming decades is virtually guaranteed. However, at the risk of heresy, it may not even count as the album's strongest song; At least, it comes to a three-way tie with the swinging, blatantly sentimental "Always Remember Us This Way" and the breathtaking, heartbreaking film, "I'll Never Love Again."

Those three highlights stand out to a large extent to Gaga, the last two as solo performances, which speaks of the somewhat uneven nature of the cuts led by Cooper. The simple and sincere "Maybe It & # 39; s Time", written by Isbell, has a silent glow, but otherwise, the songs of Cooper as Maine take a somewhat anonymous form of blues-rock along with the most dynamic moments of the soundtrack. Despite the strength of Gaga's performances captured on this soundtrack, all the live shots recorded during the filming, an approach she insisted on, is also not totally off the hook when it comes to low beams; the most explicit pop songs that make Ally's rise as soloist range from forgettable ("Heal Me") to ridiculous ("Why did you do that?").

The mere act of engaging with A star has been bornThe songs in a homely atmosphere present a very modern theme: dialogue or non-dialogue? Streaming services currently offer free soundtrack versions of dialogues and dialogue weights; the latter works as a somewhat dazzling but surprisingly enveloping experience of the film itself. Choosing which version to transmit is a peculiar enigma to face (imagine, for example, buying two separate copies of The bodyguard soundtrack), but although "Never Never Again Again" is quite effective by itself, the version of the song included in the dialogue is cut dramatically in its last seconds in the same way as the movie: jumping in time from the time de Gaga – Stopping performance in a fundamental and harrowing scene that only improves the emotional quotient of the song.

The change is a good trick as a listening experience, but it also unintentionally highlights the incidental defect of A star has been bornThe soundtrack: it simply can not contain the emotional impact of seeing the songs performed within the film. The live recording of "Always Remember Us This Way" does not capture Gaga's passionate physical delivery behind the piano, her face adorned with a JumboTron behind her when Cooper goes crazy at her flying face. And as powerful as "Shallow" is, nothing matches the look of a genuine surprise on Gaga's face like Ally, when it reaches its top register for the first time and throws the song effectively into the emotional cosmos and beyond. These moments speak of their obvious strengths as an interpreter, as well as how impressive the music works in the congress with the images of the film; You can recreate them in your head while you listen, or go for your best Gaga while you sing these songs in the shower, but it is not as effective as it is in reality.



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