The protagonists of the 2018 version of the oft-adapted A Star is Born may be the rugged, ragged country singer Jackson Maine (Bradley Cooper) and the younger rising pop star Ally (Lady Gaga). But the film’s voice undeniably belongs to another character, Jackson’s older half-brother, played with a typically phenomenal mixture of world-weary cynicism and weathered wit by Sam Elliot. Essentially the film’s viewpoint, Elliot’s character rebukes criticisms about its remake status by explicitly and perhaps charitably thematizing the value of playing within formulas and dusting off older routines in an early line of dialogue. As if the film is commenting on itself, this traveling soul seems to know, more than his younger brother who still believes in a more singular notion of originality, that there are limits to self-fashioning, and that all selves are cobbled together piecemeal out of influences far and wide. Elliot’s itinerant would-be cowboy reiterates what prior American wanderers Whitman and Emerson understood as the tragic possibility of realizing that you live in a world where all you can truly do is quote creatively.
Elliot’s character thus not only provides Cooper his voice but gifts his movie its thesis, not to mention its point of view. And, of course, its mildly self-congratulatory excuse as well, the film’s way of avoiding the challenge of more overt experimentation while committing to the belief that all experimentation is itself a similar form of play within existing structures. Of course, the film is correct in suggesting that creativity really is just skillful reconsideration of forebears. But that doesn’t necessarily let the film off the hook for, well, not doing much in the way of genuine reconsideration.
Elliot’s voice is the film’s in a second sense as well: Cooper’s protagonist sounds like Sam Elliot looks, and the gravelly hoarseness of both performances is also part of its relative fascination, as well as its thematic commentary. Another line of dialogue seems to acknowledge that Cooper’s character chose to model his voice off of Elliot to achieve some simulacrum of “authenticity,” suggesting that Maine’s swaggering machismo is a performance, a kind of costume meant to articulate an American creed. The film suggests that no one is really born a rambling man; through a combination of social circumstance and personal will, they become one, even at the expense of other, perhaps more humane and generous, versions of self. Continue reading