Download A Star Is Born (Turner Classic Movies): Judy Garland and the Film that Got Away, by Lorna Luft Jeffrey Vance

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Review

"A Star is Born: Judy Garland and the Film that Got Away is delightfully full of back story for the first four versions. Ms. Luft and Mr. Vance began their collaboration in 2010 and clearly did all it took to get the final product, a gem for Judy Garland fans, as well as for film buffs and Hollywood aficionados. This semi-biographical book is everything you'll ever want to know about Garland's 1954 version but never thought to ask.―New York Journal of Books

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About the Author

Lorna Luft is the daughter of Judy Garland and Sid Luft. She is the author of the bestselling book Me and My Shadows: A Family Memoir (Pocket Books, 1998). After making her television debut on her mother's 1963 Christmas special, Luft embarked on her own career as a singer and actress on the stage, film, and TV. She has performed on and off Broadway in Lolita, and Promises, Promises; in national tours of Grease and Guys and Dolls; at the Rainbow Room, the Hollywood Bowl, and the White House. Luft lives in Palm Springs, CA.Jeffrey Vance is a film historian, author, and producer. His books include Douglas Fairbanks (UC Press, 2008) and a trilogy of volumes published by Abrams on comedy legends: Chaplin: Genius of the Cinema (2003), Harold Lloyd: Master Comedian (2002), and Buster Keaton Remembered (2001). Vance lives in Los Angeles, CA.

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Product details

Hardcover: 248 pages

Publisher: Running Press Adult; 1st Edition edition (September 18, 2018)

Language: English

ISBN-10: 9780762464814

ISBN-13: 978-0762464814

ASIN: 076246481X

Product Dimensions:

7.4 x 1 x 9.4 inches

Shipping Weight: 2 pounds (View shipping rates and policies)

Average Customer Review:

4.2 out of 5 stars

31 customer reviews

Amazon Best Sellers Rank:

#54,736 in Books (See Top 100 in Books)

No one will ever surpass the fascination and adoration that Judy Garland commands. She was the greatest entertainer of the 20th century and will be read about, talked about, listened to and watched long after all of us have turned to dust. This interesting look at A Star Is Born by her Daughter Lorna is a beautiful tribute to not only an entertainer but a loving caring Mother. She adores her Mother as we all do and preserves her work beautifully. This is a must read from the "source" close to Judy Garland, not a writer who researched, but a Daughter who lived and loved her Mother Judy Garland. Beautifully presented, this book is a five star keeper! Good going Lorna, we love your Mama too!!!!

I did not learn anything from this book that I didn't know before. Lorna was a baby when the movie was made, therefore everything she knows comes from other people whose accounts have already been aired over the years.There's nothing new in what her mother told her later on. The angst that Garland and Sid Luft felt when their masterpiece was severely cut is well known. The production delays due to Garland's drug dependency, her brilliance in performance despite health and mood set-backs are also oft-told stories. Better by far is Ronald Haver's 1988 book "A Star Is Born". Both parts of the story - the actual production of the film and the later attempts to restore it to its original form are covered in much more detail and with greater authenticity. With extraordinary care and skill, Haver re-creates the Hollywood of the early fifties, and the making of the movie in all its aspects. In comparison, the Lorna Luft book is a much flimsier effort.

The authorship of A Star Is Born: Judy Garland and the Film that Got Away is attributed to Lorna Luft and Jeffrey Vance. Often, a celebrity-penned book seems to have been crafted by the second author—the professional writer hired to “help” the celebrity/writer. In this book, however, it seems that Lorna Luft wrote her passages herself, for her voice is distinct. There are chapters devoted to film history, and those are likely the ones written by Vance. The book starts with a Vance-written chapter about the two versions of A Star Is Born that preceded Garland’s version. The earliest was entitled What Price Hollywood? and was made in 1932. Its basic plot found its way into the first A Star is Born film, made in 1937 and starring Janet Gaynor and Fredric March. That film is a classic in its own right. Her film career washed up at age 31, Garland and her then husband Sid Luft decided to remake A Star Is Born as a musical vehicle. About half of this book is taken up with Luft painstakingly explaining the differences between the Garland version versus the Gaynor version. That is mildly interesting, but it does seem to drag on. What make Luft’s description worth reading is her “asides” when she tells of her reaction to seeing her mother’s film for the first time when she, Luft, was a grown woman. For the most part, Luft doesn’t shy away from also telling us about her mother’s addictions and her father’s failures and shortcomings. She does soft-pedal a bit, but that’s to be expected from a devoted daughter. Vance takes over after this passage to tell us about the Streisand remake. This fairly short chapter is fascinating, showing how the director and Streisand clashed over Streisand’s vision for the film, and how ultimately Ms. Streisand exercised her contractual prerogative to cut the film herself. And finally, the best chapter comes again from Luft. She tells the engrossing tale of how Garland’s A Star Is Born was restored to the print that we now can see and enjoy. Much of the cut footage had been destroyed, but through the hard work of the person who took on the task of restoration and some lucky discoveries, the film was mostly restored to the original vision of Garland and her husband. Lorna Luft’s joy at this is very poignant. And to make the book even better—for Garland fans, especially—Lorna tells of the importance her mother has had to the world and how she feels her mother is always with her. She tells us proudly that if we want a sense of the real Judy Garland, we must see A Star Is Born. I’ve seen it several times, but after reading this book, I plan to look for its next showing on Turner Classic Movies.

Timed with the release of director-actor Bradley Cooper's 2018 film version of "A Star Is Born", Turner Classic Movies presents a book about ALL the versions of "A Star Is Born." It makes for an addictive read. As Margo Channing said in "All About Eve", "fasten your seatbelts!" The saga of "A Star Is Born" is a wild, up and down, bumpy ride. The story has been through the good (the 1937 version with Janet Gaynor and Fredrick March), the superb (the 1954 version directed by George Cukor; starring Judy Garland and James Mason) and the bad and the ugly (the 1976 "ego trip" version starring Barbra Streisand). As an added bonus, the book is packed with photos from every version (many in color), printed on beautiful, glossy pages. Cooper's 2018 film might be the fifth version of "A Star Is Born"-- IF you count "What Price Hollywood" as the film that inspired everything to begin with. In "What Price Hollywood?", a movie struck girl named Mary is mentored by an alcoholic director, but does not marry him. Producer David O'Selznick felt that "What Price Hollywood?" didn't realize its full potential. "A Star Is Born" (1937) includes characters and situations from a short story called "It Happened In Hollywood." That story gives us aspiring star Esther Blodgett and fading matinee idol Norman Maine. The drowning death of actor John Bowers, and incidents from the lives of actors John Gilbert and John Barrymore, found their way into the "A Star Is Born" plot. The 1937 "A Star Is Born" serves as a good template for the full-force musical drama version in 1954. Film historian Jeffrey Vance's chapter on Barbra Streisand's 1976 version is mercifully brief. Moving the story from Hollywood to a world of "sex, drugs, and rock and roll" in the mid-1970's, and full of "feminist statements" by Streisand, the film is nothing but a star on an insulting and ludicrous ego trip. And critics quickly smelled a stinker. Vincent Canby said that Barbra Streisand "never plays to or with the other actors. She does A Star Is Born as a solo turn." Pauline Kael found Streisand's version so "truthless, {Streisand} can't play it." Streisand's version belongs in the trash, but it was Judy Garland's 1954 version that was vandalized, thanks to the preposterous post-premiere editing ordered by Warner Bros. "money man" Harry Warner. Still, the 1954 version is the one we remember the most, because it delivers the most emotional jolts, fueled by Judy Garland's dynamic talents. The bulk of this book belongs to the trials and tribulations of Judy Garland's "A Star Is Born", and deservedly so. Lorna Luft, daughter of Judy Garland and her husband, producer-manager Sid Luft, details it all in a compelling, precise, and often heartbreaking manner. Hollywood is often a duplicitous, insensitive town. Nowhere is that more apparent than in the way the 1954 "A Star Is Born" was mishandled. Regardless of whatever industry baggage or personal demons Judy Garland brought to "A Star Is Born", she delivered a tour-de-force performance on screen. The film, running three hours, opened to rave reviews. Still, Harry Warner demanded the film be cut by 27 minutes, to a run time of two hours and 34 minutes. The cuts ruined the emotional and dramatic flow of the film, and robbed Garland of the Academy Award she deserved. The industry message to Garland was devastating, but direct: "You can give your heart and soul to the movies, honey, but Hollywood isn't going to award you for it." The 1954 "A Star Is Born" has been restored to near its original length (now at 2 hours and 54 minutes) twice; by film historian Ronald Haver in 1983, and again in 2010. The sad part is that director George Cukor and star Judy Garland were no longer alive to see their film be reborn and reclaimed as a masterpiece. Lorna Luft writes of further family drama caused by her autobiography "Me & My Shadows: Life With Judy Garland", and the subsequent award-winning TV movie starring Judy Davis and Tammy Blanchard. Sid Luft resented both the autobiography and TV movie. Lorna and her dad made a sort of peace before his death, but things were never the same. They seldom saw each other in person after that. Some elements of "A Star Is Born" still hit too uncomfortably close to home. The book concludes with a mention of the 2018 version. With the story set in the music industry, you might think this film is close to the dreadful 1976 Streisand version. The surprise is that, emotionally, it is much closer to the 1954 version. But director-actor Bradley Cooper does something much more extraordinary here. His film is not so much a remake or, far worse, a retread "reimagining", but a stunning revitalization. Cooper rejiggers everything just enough to make the story spin and live in 2018. Lady Gaga (Stefani Germanotta) is a major revelation-- just as Judy Garland was in 1954. Who would dream that Lady Gaga is a soul sister to Judy Garland?

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