★ ★ ★ ★ 1/2 out of 5
SPOILERS AHEAD!
Film soundtracks usually go one of two ways. Either the soundtrack of a mediocre film is able to stand on its own by triggering an enjoyable re-imagining by the listener (Glitter, for example), or said soundtrack can instead strengthen the experience by allowing the music the chance to dive deeper into the story-telling, sharing in more details and emotions.
When word of a third remake of A Star Is Born started floating around (at one point to-be directed by Clint Eastwood and star Beyonce), doubt of its potential success was high. However, when the first trailer featuring Bradley Cooper and Lady Gaga as starstruck lovers trying to make it in the unpredictable, cruel world of the music industry was released, the tone quickly changed. The film has received critical acclaim for Cooper’s directing, the acting performances by both leads, and the electrifying musical numbers.
The music indeed becomes one of the film’s main highlights. The 34-track accompanying soundtrack (18 songs, 15 dialogue tracks, 1 instrumental) becomes another strong release from Gaga as she shapeshifts from shy, insecure songwriter to confident pop star, and an impressive introduction to Cooper’s hidden vocal talents.
From the first notes of when Cooper’s blues/rock character takes the stage, to Ally first belting the notes of lead soundtrack single “Shallow”, or her heart-breaking closing performance, the music amps up the drama, intensifies the connection and investment viewers have with the characters on screen. If dialogue failed at times to create the appropriate mood, the lyrics and music certainly picked up the slack.
When Cooper’s character Jackson Maine first takes the live stage following some opioid encouragement to perform hard rock-influenced “Black Eyes", written by Lukas Nelson, son of country icon Willie Nelson, it puts into perspective the downward spiral Maine finds himself in. Though short, the infectious track of rebellion highlights Maine’s choice to live in denial. Carried by a show-stopping vocal performance and sharp electric guitar skills, it’s a strong opening for the soundtrack.
Following an impromptu vocal snippet of “Somewhere Over the Rainbow”, an homage to Judy Garland and chasing one’s dreams, Maine first sets his sights on Gaga’s hard-working character Ally in a drag bar performing Edith Piaf’s French-language “Le Vie en Rose”. The performance showcases Gaga’s vocal abilities, as well as her ability to erase herself and become a character that’s trying to mirror another iconic character. Like a Russian nesting doll.
Cooper then commands a majority of the soundtrack’s first half. On “Maybe It’s Time”, he contemplates the idea of making drastic changes to his lifestyle, foreshadowing the struggle that comes with the journey toward self-improvement. “Maybe it's time to let the old ways die, it takes a lot to change a man, hell, it takes a lot to try,” he sings. It is a powerful and authentic acoustic performance that carries enormous weight in context with the film.
Once the “Out of Time” instrumental concludes, Cooper then segues into “Alibi”, another hard rock effort that puts his views of relationships into clear focus. With a seductive grit to his vocals, Cooper portrays Maine as a man who enjoys his freedom and refuses to jump the gun or place unrealistic expectations on his time with Ally.
However, that mentality appears to vanish when he rushes Ally on stage for “Shallow”, a touching duet of letting go of reservations and taking a chance. The acoustic guitar-driven power ballad finds the characters expressing their love for each other and the positive impact each have on the other's life. While both may have felt at the end of their rope, gasping for breath, they now have another to confide in and lift each other from the murky depths of pain and despair. The song symbolizes the initial feeling of no longer needing to face life's challenges alone.
The relationship continues to blossom as Jack and Ally continue to experiment together in the recording studio. “Music to My Eyes” is an acoustic blues duet where the romantic partners compare each other to every piece of a glorious song they can now sing together. The finished result is a bit sappy and clichéd, though perfectly highlights the vocal chemistry between the artists.
“Diggin’ My Grave” is the better of the country-leaning duets. The track is slightly more uptempo, juxtaposed with a grim picture for the relationship’s future. “Six feet under baby that's where I'll be, by the time that you're done with me, all these tears I cry, drownin' in a tidal wave,” the pair sings on the chorus. Though the couple are foreshadowing their possible end, the intense and straightforward exchange does highlight a willingness to fight to stay by each other’s side.
The new relationship is then forever cemented when Gaga takes to the piano for the tear-jerking “Always Remember Us This Way”, a promise to never allow their flame to be extinguished, to not let memories get tainted. The ballad becomes one of the artist’s strongest career releases, reminiscent of the work for her recent Joanne era. In the end, Ally wants to ensure the rocky journey she walks with Jack actually means something.
The sultry and slinky “Heal Me” is another pop highlight from Ally’s catalog. Written by real-life pop songwriting heavyweights Justin Tranter and Julia Michaels, the R&B-leaning effort places emphasis on Gaga’s soothing vocal performance paired with Ally’s occasional lack of confidence and dependence on the new love in her life. The endearing effort is a modern, radio-ready experiment that still works in the content of the film and the character’s trajectory.
A halt in Ally’s transformation comes when she and Jack sing the tender “I Don’t Know What Love Is”, just as the two make their love official with a ring. They both look past hesitation and doubt, and allow their relationship to speak for itself. Once separately dealing with their own cloud of darkness, the artists can now share in the uncertainty.
It may have only been used as the film’s end credits theme, but delicate ballad “Is That Alright?” packs enough emotion to summarize the main points and stand on its own. The song serves as an ode to the couples’ marriage and Ally’s forever promise to Jack. “I want you, at the end of my life, wanna see your face, when I fall with grace, at the moment I die, is that alright?,” she questions and wonders.
After nabbing a musical guest spot on Saturday Night Live, Ally’s full-fledged pop creation “Why Did You Do That?” rubs Jack the wrong way. Written with Diane Warren, the repetitive number is supposed to make listeners question its vapid nature and Ally’s authenticity, though still comes off as a slick, radio-friendly dance number that would easily find success on today’s airwaves.
“Hair Body Face” has been understandably compared to Gaga’s older, R&B-influenced demos. Ignoring her naysayers, Ally is fully content as long as she remains perfect in her lover’s eyes. Sensuality encompasses the vocal performance as clever imagery highlights both the acknowledgement of trouble in paradise and the fulfillment of keeping one’s faithful promise to another.
Pop-oriented power ballad “Before I Cry” is another cut that effortlessly blends Ally’s two artistic halves. In the midst of recent arguments and separation, the character’s relationship with Jack appears to be deteriorating right in front of her eyes. “I'm 'bout to lose it, it's got so confusin', am I just repeatin' myself?, say somethin' lovin' to me before I crumble,” she pleads, unsure of where the next step forward will take her.
The short and sweet “Too Far Gone” quickly morphs into Gaga’s depressing swan song “I’ll Never Love Again”. Country songwriter and frequent collaborator Hillary Lindsey co-penned the closing film number, aiding Gaga in expressing sentiment that come with losing the person you love the most. Exuding Whitney Houston performance qualities, the artist delivers an emotional statement of never again being the same. She is forever broken.
The A Star Is Born soundtrack is integral to the film and its rollercoaster plot. It serves as the film’s heartbeat. Lady Gaga and Bradley Cooper needed to ensure they properly portrayed a couple with believable chemistry on screen. They continue that performance for the music. Gaga is a chameleon of an entertainer, that is effectively showcased as the artist powers through country, rock, pop, and R&B tracks. She excels at every genre. But what might be even slightly more astounding is how compelling Cooper is as a legendary rocker down on his luck. He has the vocal talents to portray such a complex character with the necessary depth and internal demons. Just like the film itself, the soundtrack will rile up listeners, make them feel exactly what each character does at any moment.
Tracks to Hear: "Maybe It's Time", "Shallow", "Always Remember Us This Way", "Look What I Found", "Is That Alright?" and "I'll Never Love Again"
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