A Star Is Born: The Making of the 1954 Movie and Its 1983 Restoration (40 page)
Read A Star Is Born: The Making of the 1954 Movie and Its 1983 Restoration Online
Authors: Ronald Haver
The New York opening was even more dazzling and spectacular than
the Hollywood event, with three blocks of Times Square cordoned off to
all but people holding tickets to one of the two theaters. WABC-TV had
four mobile television cameras stationed in front of each theater for an
on-the-spot half-hour telecast highlighted by the appearance of Judy Garland at both theaters. Huge searchlights again gave the appearance of
daylight to the area, while red carpeting in front of each theater covered
the sidewalks from lobby to curb; when Garland made her appearances,
colored stars fell from the sky. The usual superlatives and fatuous comments
reached a new height of sorts when Major Albert Warner stepped to the
microphone and gushed: "I really can't recall a more wonderful occasion.
It's a wonderful thrill because of the wonderful Judy Garland. It's the
greatest thing we have done since we brought out the first talking picture."
Sunset and Vine, looking north toward Hollywood Boulevard, 1953
The world premiere, September 29, 1954, at the RKO Pantages Theatre, Hollywood and Vine.
A preproduction test using the WarnerScope lens and WarrierColor (the Eastman process),
photographed by Winton Hoch. Both Cukor and Luft judged the results "disastrous."
Garland's first entrance in the film; costume by jean Louis.
"Night of the Stars," outside the Shrine Auditorium. This is actually two shots
combined. On the left is footage photographed for the film in CinemaScope; on
the right is footage of the world premiere of The Robe (September 23, 1953),
photographed with the inferior WarnerScope lens.
Hoyningen-Huene's artistic influence is evident in this scene backstage at the Shrine
Auditorium-it is based on Degas's Dancers Adjusting Their Slippers.
The second version of "The Man That Got Away," shot in CinemaScope and
Eastmancolor. Here the dominant color is brown and the final effect is very muddy.
The final version of "The Man That Got Away," with Garland in a new costume (by
Jean Louis) and new makeup. This scene was restaged by Cukor using red and blue as
the dominant colors for a striking effect.
OPPOSITE, TOP: Esther/Vicki meets publicist Matt Libby (Jack Carson) on her first
day at the studio. This is a fine example of excellent CinemaScope composition and
color design. Garland's costume is by Mary Ann Nyberg.
OPPOSITE, CENTER: The Oliver Niles Studio version of Vicki Lester.
OPPOSITE, BOTTOM: Norman Maine's vision of Vicki Lester.
Two scenes from the "Born in a Trunk" sequence; sets by Gene Allen, costumes
by Irene Sharaff: (ABOVE) "Melancholy Baby" and (RIGHT) "Swanee."
