I saw all three versions of "A Star is Born" in the past, and enjoyed watching this original and the 1954 remake again after so many years. What superb acting by Frederic March as Norman Maine, Janet Gaynor as Vicki Lester/Esther Blodgett, and all of the rest of this excellent cast. <br /><br />After many years between viewings, I was struck by the uniqueness of this film. Two aspects in particular stand out. First, that it is really three movies in one, with distinct stories. Second, that it has at least three major messages. The latter are so carefully woven into the script – and so well acted out – that most viewers may not be consciously aware of them. So, the genius of the script is in its putting all of this together in a most enjoyable and watchable story, without hitches or glitches.<br /><br />Most movies have a single story, with the different characters and roles as part of it. Usually, they center on the hero or heroine, the romance of the two, or a major plot of war, crime, intrigue or adventure. But, in this original, we see first, a story of a young small-town girl, Esther/Vicki, who dreams of becoming a movie star. The opening scenes set the stage for her "escape" to Hollywood. The message is about taking risks to chase one's dreams (as her grandmother counsels and relates of past family history). <br /><br />The next scenes show her difficulties in trying to break into the movies. She is behind in her rent and finds odd jobs as she looks for a break. We see the hopelessness and little likelihood of someone making it in Hollywood (one in 100,000, the woman at the acting agency tells her). But, we also see her determination to keep trying.<br /><br />Now the second story begins to unfold. Only, we understand that the male lead's story (Norman Maine) has been going on for many years in Hollywood. He has reached his peak, and while still near the top, he has become a headache and problem to his studio because of his drinking the past several years. We don't know why he apparently has never married, but it's clear that his career has been his obsession. Now he is becoming a big publicity problem for the studio. <br /><br />By coincidence, these two people meet, and the third story begins. A deep love blossoms between the two with their ultimate marriage. Lester's star rises and the first story fades as her dream is fulfilled – she has become a star. The male lead's story and the love story are now tightly (no pun intended) intertwined. In his love for her, and awareness of his drinking problem and acting decline, Maine bows out of films and stops drinking. Over time, he becomes distant as he realizes that he is no longer recognized. Finally, after a messenger boy calls him by his wife's stage name ("Mr. Lester"), he snaps and goes back to drinking. <br /><br />After more run-ins with the law and drying out in a sanitarium, Maine is set to return home. But a chance encounter with the studio publicity man, Matt Libby (excellently played by Lionel Stander), spells doom for Maine. He can't stand the PRs insults about being supported by his wife, and after a brawl, he steps up to the bar to resume his drinking. <br /><br />The next scenes show Lester and studio head Oliver Niles (Adolphe Menjou) worrying about where Maine is after four days. They get a call and Lester gets a judge to release Maine to her care. The courtroom scene is a great example of the humiliation of the man, now having sobered up, standing with other drunks, many of whom may live in the gutter, and being further embarrassed by having his wife appeal for him. <br /><br />Back in their California beachfront estate, Lester and Niles have put Maine to bed. They think he is sleeping but he hears them talking in the next room. Because of her love for Maine, Lester tells Niles that she is quitting the movies, and that she and Maine will go away together. Maine can hear Niles urge Lester not to give up her career at its peak. We can see the anguish and torment on his face. In Maine, we have a real story of conflict between the man, with his ego and no longer being revered as a movie idol, and his deep love for his wife and genuine respect and hopes for her success.<br /><br />I won't describe the last scenes – of Maine and Lester. His story ends on a tragic note. And the love story ends on a sad note. The subtle messages become clear. First, stardom, wealth and success don't buy happiness. Remember the veranda scene when Maine tells Lester that she now owns the world as they look out over the city lights below? And then he says that he has never found happiness with success. Second, that pride and ego can destroy love when one person can't humble himself and struggle to rise above his failings for himself and that love. Even as an alcoholic, Maine was able to quit once – with help. But now he doesn't want to try again. Third, we should not be fooled by the allure of Hollywood and success that come mostly from phony build-ups and PR (i.e. the fictitious bio and lies by the studio PR guy to the press and public). <br /><br />I couldn't help but think of the adulation so many still heap on the movie stars and celebrities of today. And, how so few of them seem to have real happiness and love with their wealth and worldly success.