A Star Is Born
Is the price of stardom a broken heart?
A Star Is Born (1937)
Timing:
1:51 (111 min)
7.178/10
200
200
7.026/10
1074
1074
7.3/10
12000
12000
![Watch film A Star Is Born | A Star Is Born (1937) Original Trailer [FHD]](/amdb/images/posters/t/i/5eDodpaeDxB1.webp)
Country
Production
Genre
Drama, Romance
Budget
$1 173 639
Revenue
$4 360 000
Director
Actors
Janet Gaynor, Fredric March, Adolphe Menjou, May Robson, Andy Devine, Lionel Stander, Owen Moore, Peggy Wood, Elizabeth Jenns, Edgar Kennedy
All actors and roles (10)
All actors and roles (10)
Scenario
Producer
Operator
W. Howard Greene
Composer
Artist
Edward G. Boyle
Audition
Charles Richards
Editing
Short description
Esther Blodgett is just another starry-eyed farm kid trying to break into the movies. Waitressing at a Hollywood party, she catches the eye of her idol Norman Maine, is sent for a screen test, and before long attains stardom as newly minted Vicki Lester. She and Norman marry, though his career soon dwindles to nothing due to his chronic alcoholism.
What's left behind the scenes
- It is considered the first film shot in Technicolor that pleased both critics and audiences. Before the release of "A Star is Born" and "Nothing Sacred" (William A. Wellman, 1937), color films used such garish colors that they caused migraines (according to several film critics). Here, producer David O. Selznick (1902-1965) insisted on muted and therefore more realistic colors. It is believed that the success of these two films made possible the appearance of a masterpiece in Technicolor—Victor Fleming’s melodrama "Gone with the Wind" (1939).
- Producer David O. Selznick initially rejected the script because films about Hollywood generally failed at the box office. He was convinced to take on the story by his wife, Irene Mayer Selznick.
- It is considered the first film shot in Technicolor that was well-received by both critics and audiences. Before the release of "A Star Is Born" and "Nothing Sacred" (William A. Wellman, 1937), color films used such garish colors that they caused migraines (according to more than one film critic). Here, producer David O. Selznick (1902-1965) insisted that the colors be muted and therefore more realistic. It is believed that the success of these two films made possible the appearance of a masterpiece in Technicolor – Victor Fleming’s melodrama "Gone with the Wind" (1939).
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