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Une étoile est née

Titre original : A Star Is Born
  • 1976
  • R
  • 2h 19m
ÉVALUATION IMDb
6,1/10
14 k
MA NOTE
POPULARITÉ
4 563
2 017
Barbra Streisand and Kris Kristofferson in Une étoile est née (1976)
Regarder Official Trailer
Liretrailer3 min 37 s
4 vidéos
87 photos
Showbiz DramaTragic RomanceDramaMusicRomance

Une star du rock passionnée tombe amoureuse d'une jeune chanteuse prometteuse.Une star du rock passionnée tombe amoureuse d'une jeune chanteuse prometteuse.Une star du rock passionnée tombe amoureuse d'une jeune chanteuse prometteuse.

  • Director
    • Frank Pierson
  • Writers
    • John Gregory Dunne
    • Joan Didion
    • Frank Pierson
  • Stars
    • Barbra Streisand
    • Kris Kristofferson
    • Gary Busey
  • Voir l’information sur la production à IMDbPro
  • ÉVALUATION IMDb
    6,1/10
    14 k
    MA NOTE
    POPULARITÉ
    4 563
    2 017
    • Director
      • Frank Pierson
    • Writers
      • John Gregory Dunne
      • Joan Didion
      • Frank Pierson
    • Stars
      • Barbra Streisand
      • Kris Kristofferson
      • Gary Busey
    • 118Commentaires d'utilisateurs
    • 48Commentaires de critiques
    • 59Métascore
  • Voir l’information sur la production à IMDbPro
    • A remporté 1 oscar
      • 7 victoires et 7 nominations au total

    Vidéos4

    Official Trailer
    Trailer 3:37
    Official Trailer
    A Star Is Born: The Road
    Clip 1:03
    A Star Is Born: The Road
    A Star Is Born: The Road
    Clip 1:03
    A Star Is Born: The Road
    30 A-Listers Who Passed on 'A Star Is Born'
    Video 2:51
    30 A-Listers Who Passed on 'A Star Is Born'
    Clip
    Video 0:40
    Clip

    Photos87

    Voir l’affiche
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    Rôles principaux40

    Modifier
    Barbra Streisand
    Barbra Streisand
    • Esther Hoffman
    Kris Kristofferson
    Kris Kristofferson
    • John Norman Howard
    Gary Busey
    Gary Busey
    • Bobby Ritchie
    Oliver Clark
    Oliver Clark
    • Gary Danziger
    Venetta Fields
    Venetta Fields
    • The Oreos
    Clydie King
    Clydie King
    • The Oreos
    Marta Heflin
    Marta Heflin
    • Quentin
    M.G. Kelly
    • Bebe Jesus
    Sally Kirkland
    Sally Kirkland
    • Photographer
    Joanne Linville
    Joanne Linville
    • Freddie
    Uncle Rudy
    • Mo
    Paul Mazursky
    Paul Mazursky
    • Brian
    Stephen Bruton
    • The Speedway
    Sammy Lee Creason
    • The Speedway
    • (as Sam Creason)
    Cleve Dupin
    • The Speedway
    Donnie Fritts
    • The Speedway
    Dean Hagen
    • The Speedway
    Booker T. Jones
    Booker T. Jones
    • The Speedway
    • Director
      • Frank Pierson
    • Writers
      • John Gregory Dunne
      • Joan Didion
      • Frank Pierson
    • Tous les acteurs et membres de l'équipe
    • Production, box office et plus encore chez IMDbPro

    Commentaires des utilisateurs118

    6,114K
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    Avis en vedette

    5Lejink

    Don't watch too closely now...

    I enjoyed this 70's remake of the marvellous Judy Garland / James Mason classic from the 50's (itself a remake, film snobs) more than I expected without accepting that one isolated minute in it was better than its counterpart in the predecessor. A rocky update of the story is a decent idea and in fact lends itself well to the story-line and if the execution is a bit clunky and now dated, that's both pardonable and understandable.

    Things I liked - well let's start with Kris Kristofferson who, with the more difficult part, certainly convinces as a hell-raising rock star, fuelled by drugs and alcohol, aware of tastes and fashions passing him by but with enough perception to see Streisand's Esther as the future. It's fun trying to pick out rock prototypes for his John Norman Howard character - I'm between Jim Morrison and Leon Russell myself, the latter married at the time ironically to sultry singer Rita Coolidge who herself gets a brief cameo appearance, while Howard's behaviour at Streisand's little night club where he "discovers" her recalls an infamous out of control episode in the "lost weekend" period in John Lennon's life, if memory serves. A pity they couldn't have trusted the writer of classics like "Help Me Make It Through The Night" and "Me And Bobby McGee" to contribute some of his own songs to the soundtrack and certainly his signature song here "Watch Closely Now" gets done to death.

    I also quite enjoyed the soundtrack. I'm no fan of La Diva Streisand's singing or indeed acting but at least in her vocals she exercises some restraint and delivers a surprising variety of material demonstrating at least some versatility on her part, from the title-theme ballad "Evergreen", (the gorgeous music to which was, surprisingly enough written by her), light Labelle-type funk of "I Believe in Love" and the big torch ballad "The Woman in the Moon" which while beneath Judy's "The Man That Got Away", covers the same territory in a still acceptable way.

    Things not to like - Streisand herself does a reasonable job and initially tones down her trademark "kooky" and "sensitive" personae a bit but you never really believe in her as a real person. Unfortunately as the film progresses so does her profile and we get embarrassingly lame scenes with the couple coo-ing at each other in various locations including a candle-surrounded bath scene, Streisand overacting furiously as she argues with a cassette-tape of Howard's voice after he's done his James Dean-type exit from the planet and worst of all that single long shot of her singing the finale medley, which is when you appreciate that yes, it's just another Barbie vanity exercise after all (especially when you see her name down as executive producer).

    The dialogue is pretty rock-star cliché throughout and some of the situations come across very second-hand too (Howard snorting up before every show, his assaults on a critical dee-jay, Streisand's MOR music somehow wowing a crowd of rock 'n' rollers at a benefit gig) and of course the familiarity with the story reduces the surprise element of some of the plot developments.

    All told though, long as it was, there were far worse films than this made in the 70's. By the way, what a pity they never released the version of "Evergreen" with Kristofferson harmonising on the middle section - it works a treat and adds to an already very pretty melody.
    8HotToastyRag

    Loved it way more than I expected to

    I was fully expecting to dislike this version of A Star Is Born, since I'd already seen the 1954 version and loved it. I'd also already seen the 1937 original, and while it wasn't as good as the remake, I still appreciated it. My mom said she couldn't stand the 1976 version, and we usually have pretty similar taste, especially when it comes to musicals. Surprise, surprise, I loved it.

    The reason I was able to enjoy A Star Is Born so much is because I pretended it was a completely different movie. If you've seen either of the two earlier versions and expect a traditional remake, you'll probably hate it. John Gregory Dunne, Joan Didion, and Frank Pierson may have based their concept on a previous story, but they've written a completely different script. So, for the purpose of telling you my thoughts on the film, I won't compare it at all to the Judy Garland version.

    Kris Kristofferson might be the only person in the world who can pull off a bearded, '70s look while still coming across as hygienic. It doesn't make sense that I think he's wildly attractive, since I usually hate that look, but I was in heaven with the amount of eye candy in this movie. Perfectly cast as a popular rock star, he starts the movie past his peak. He drinks, snorts cocaine, forgets his lyrics onstage, and performs outrageous, life-threatening stunts. He chances upon Barbra Streisand singing in a nightclub and is so impressed with her talent, he propels her to stardom. And of course, they fall in love.

    I really am surprised by how much I liked this movie, since so much of it isn't usually my cup of tea. The 1970s isn't my favorite decade, and I usually find the clothes and hairstyles irritating. With exception to two of the plentiful songs in the movie, I didn't really like the music. Barbra Streisand's character has plenty of bite to her, which I don't usually find sympathetic. Somehow, putting all the elements together worked beautifully. Somehow, it made total sense that Barbra gave Kris attitude when they were first getting to know each other. I won't be buying the soundtrack, but Barbra's vocal talent was extremely impressive; it was very understandable that audiences in the film were wowed by her.

    Both leads put their whole hearts into their performances, and even though this was the third time I'd seen the story, I still cried during each of their "big scenes". If you know the story, you know which ones they are. I'd always thought of Kris as just a good-looking singer, but I was surprised by how much dramatics he poured into his scenes. Barbra is always a good performer, and in her romantic one-on-one scenes, she's tender and vulnerable. She's been paired up with a very long list of good-looking leading men-Robert Redford, Ryan O'Neal, Jeff Bridges, Omar Sharif, Nick Nolte, and young Mandy Patinkin-and I've never seen her with greater, sweeter, lovelier chemistry than with Kris Kristofferson. The way they look at each other is so beautiful, like how Jack Carson looked at Doris Day in Romance on the High Seas. If you like the Oscar-winning song "Evergreen", you'll love the scene in the movie when they sing it together.

    My advice is to either watch this version first or forget you've seen any other version when you rent it. He's gorgeous, she's in her perm-prime, and if you like '70s rock, you'll really love it.
    smithme652

    When you want the best version, see this last!

    This is the best version of this story, no matter how many times it is made over. Save the best for last.
    6bkoganbing

    An Enduring Tale

    Transferred from the world of Hollywood to the world of rock music, this latest version of A Star Is Born lacks the glamor of the other two, mainly because the field is a less glamorous one. Nevertheless the role of Esther has attracted only the best of players, from Janet Gaynor to Judy Garland and now Barbra Streisand. That's a hat trick hard to beat in any field.

    In the other two versions, Fredric March and then James Mason, are a pair of self destructive drunks who when we meet them are on the downward side of their careers and have only one ennobling virtue, their love for Gaynor/Garland. Kris Kristofferson however is a multi-substance abuser and because we're talking about the rock scene has the groupies attached to him. Unlike in the other two versions, Streisand catches him with one and the whole thing about the pure love loses its potency because of it. However the incident does set him up for his final moment of self destruction.

    All the supporting characters from the other two versions are completely eliminated. Gary Busey has a nice role as Kristofferson's music arranger who fulfills many of the functions that eliminated characters from the other versions have. The rest of the film's supporting parts are very undefined which makes this version weaker than the others.

    But for those who are interested in hearing Barbra sing, A Star Is Born will more than satisfy you. The film got an Oscar for the song Evergreen which Kristofferson and Streisand duet and it became one of her best selling records. Judy Garland was similarly served in her version with The Man That Got Away although that song was nominated and did not win.

    A Star Is Born is an enduring tale and I don't think we've seen the last of it. May the next group of players do the story as much justice as the three pairs of co-stars I've cited.
    5gbrumburgh

    The third and least workable version of the classic Hollywood tale.

    The anticipation for this musical film was huge. It seemed the perfect star vehicle for Barbra Streisand and she hadn't had a hit for almost three years ("The Way We Were"). Janet Gaynor and Judy Garland were superlative in their creations of the classic tale of the Hollywood couple -- one star on the rise, the other on the skids. Could Streisand put her own indelible mark on this material as well and reestablish herself as a triple-threat performer?

    Nope. Not even close. This third version (actually fourth, if you include 1932's "What Price Hollywood" starring Constance Bennett and Lowell Sherman) stalls early in the game by transposing the dramatic setting of Hollywood movie-making to the brash, uncouth pop/rock music scene... and it is only one of many fundamental mistakes this movie makes.

    The rags-to-riches story of Esther Hoffman Howard ain't believable for one second. Streisand the struggling artist? She plays Barbra the hard-assed star from the very first scene, lacking the courage or ability to immerse herself into a fully-realized character. She brays and bullies from the onset, showing no emotional colors whatsoever in a performance bereft of weakness, vulnerability and, as a result, sympathy. Ironically, she played this part to perfection ten years before -- as Fanny Brice, the gawky chorus girl who became a Ziegfeld Follies legend. Well, somewhere in those ten years, is a big star who has forgotten how to laugh at herself.

    Its been said that Elvis Presley was briefly considered for the part of John Norman Howard, the singer on the skids, but turned it down for fear of being upstage by Streisand. All the same, one wonders what "The King" might have done with a too-close-to-reality role like this. In the hands of Kris Kristofferson, he tosses in a performance so lackadaisical and careless that one wonders if he was sober at all during the film's shoot. They appear to be performing in two different movies. Neither one interesting.

    The screenplay is hopeless trite and corny, fueling some of the most unintentionally funny scenes in recent memory. Streisand's fight scene with Kristofferson after she catches him in the sack with some chippy and her emotional cassette-ripping scene in the mansion after John Howard's death are just plain embarrassing. If she's such a perfectionist in real life, how did these two scenes ever get by the editor's scissors.

    The one thing Streisand did right in this movie is the one thing she can never do wrong. Sing. Possessing arguably the finest vocal instrument known to man, she weaves absolute magic in her singing scenes, notably "Woman in the Moon" and especially her heart-breaking finale number, "Are You Watching Me Now." Here, and only here, does she seize an emotional connection to Esther that evaded her throughout the film.

    Alas, it is not enough to save this film dud. But, if you must see this, I'd advise you to skip the acting scenes and fast-forward to each Streisand number. Better yet, buy the CD.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Kris Kristofferson said, "Filming with Barbra Streisand is an experience which may have cured me of the movies."
    • Gaffes
      After John Norman crashes his motorcycle, and Esther runs to him, there are dirty hand prints on the back of her blouse before John Norman pulls her down in the dirt and puts his hands on her back.
    • Citations

      Esther Hoffman: You can trash your life but you're not going to trash mine.

    • Générique farfelu
      Ms. Streisand's clothes from ... Her Closet.
    • Autres versions
      Streisand interpolated previously unused footage for the film's 2018 release on Netflix. Original footage restored a guitar version of "Evergreen" previously cut to condense the film. The finale "With One More Look at You/Watch Closely Now" was re-edit from a single take to a more enhanced visual.
    • Connexions
      Edited into Barbra Streisand: Woman in Love (1981)
    • Bandes originales
      Watch Closely Now
      Music & Lyrics by Paul Williams & Kenny Ascher

      Performed by Kris Kristofferson

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    FAQ20

    • How long is A Star Is Born?Propulsé par Alexa

    Détails

    Modifier
    • Date de sortie
      • 17 décembre 1976 (Canada)
    • Pays d’origine
      • United States
    • Langue
      • English
    • Aussi connu sous le nom de
      • A Star Is Born
    • Lieux de tournage
      • Empire Ranch, Sonoita, Arizona, États-Unis(newly built honeymoon home)
    • sociétés de production
      • Barwood Films
      • First Artists
    • Consultez plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 6 000 000 $ US (estimation)
    • Brut – États-Unis et Canada
      • 80 000 000 $ US
    • Brut – à l'échelle mondiale
      • 80 000 115 $ US
    Voir les informations détaillées sur le box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 19 minutes
    • Mixage
      • Dolby
    • Rapport de forme
      • 1.85 : 1

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