Born This Way: George Cukor's "A Star is Born" (1954)

Every few decades, one remake emerges that defines the zeitgeist in some meaningful way. While there's only four versions of A Star is Born out there currently, they all have left a stamp on Hollywood and the music industries with scathing tales of fame, indulgence, and the power of creativity. Over the course of this week, Born This Way will be looking at the films, released between 1937 and 2018, and analyzing what makes each one special along with what they do right, what could be improved, and just a general celebration of all things glitz and glamour. You might want to take another look at this column, because it's something as timeless as film itself. Dive in and enjoy Hollywood's favorite franchise, which has earned 17 Oscar nominations, 2 wins, and an Honorary Award. There's few films like these, so catch them before they fade away.

Check This Out: Watch the Previous "A Star is Born" Movies on FilmStruck

Scene from A Star is Born (1954)

As most people already know, yesterday marked the release of the fourth adaptation of Hollywood's favorite franchise A Star is Born, this time directed by Bradley Cooper and starring Lady Gaga. Early talk has been that it's great and that the song "Shallow" is set to dominate the Best Original Song category. While it's encouraged that you go out and see it just for the sheer energy on display, those who want to see the wide berth of history for this franchise need not go out and buy the DVD's. If that's too pricey of a measure, there is a simpler way, and it involves having a subscription to the great streaming service FilmStruck. Right now, you can go to their website and watch the 1937, 1954, and 1976 versions of the films that have in total earned 17 Oscar nominations (including 1 Best Picture), 2 wins, and an Honorary Award. It's a franchise that's likely to outlast us all, so get on board and see what all of the fuss is about.

The Oscar Buzz is Celebrating Its Sixth Anniversary!

Scene from Pygmalion (1938)

On this day six years ago, The Oscar Buzz launched as a place for me to discuss everything related to awards season. It was 2012 and it stemmed largely from an interest in discussing everything related to the Paul Thomas Anderson film The Master. Things have evolved since then and in 2018, the blog has covered a lot of ground both in Oscar history, as well as attempts to branch out into other subject matters ranging from the Tony Awards to chronicling the entire output of A24 studios. It's a daunting task that I love to put upon myself. But on these anniversary entries, I have one tough question: how do I open up? These entries are about discussing who I am as an individual more than just my opinions on film. It's easy some years, where variables can lead to cutesy lists (for instance, last year was about the year with the five Best Picture nominees that best represented me). But where do I go with six? It's difficult. However, I have decided to look at something that I don't discuss too often: the double-nominee. What film adaptation stands out as saying something integral about who I am? In this particular case, I am going back to the work of George Bernard Shaw and the adaptations Pygmalion and, in its musical form, My Fair Lady.

Nothing But the Best: "Gone With the Wind" (1939)

Scene from Gone With the Wind

Welcome to the series Nothing But the Best in which I chronicle all of the Academy Award Best Picture winners as they celebrate their anniversaries. Instead of going in chronological order, this series will be presented on each film's anniversary and will feature personal opinions as well as facts regarding its legacy and behind the scenes information. The goal is to create an in depth essay for each film while looking not only how the medium progressed, but how the film is integral to pop culture. In some cases, it will be easy. Others not so much. Without further ado, let's start the show.

Nothing But the Best: "My Fair Lady" (1964)

Scene from My Fair Lady

Welcome to the series Nothing But the Best in which I chronicle all of the Academy Award Best Picture winners as they celebrate their anniversaries. Instead of going in chronological order, this series will be presented on each film's anniversary and will feature personal opinions as well as facts regarding its legacy and behind the scenes information. The goal is to create an in depth essay for each film while looking not only how the medium progressed, but how the film is integral to pop culture. In some cases, it will be easy. Others not so much. Without further ado, let's start the show.

Check This Out: "My Fair Lady" to Return to the Big Screen Nationwide

Scene from My Fair Lady

There's a good chance that if you enjoy reading about Academy Awards news and history, you're just as interested in seeing the films on the big screen. Well, there's good news for those who are fans of the 1964 musical My Fair Lady, directed by George Cuckor and starring Audrey Hepburn as Eliza Doolittle and Rex Harrison as Henry Higgins. Starting next week and running into November, you can have the opportunity to see the film on the big screen in select theaters with a new, fully restored version.

R.I.P. Gene Allen (1918-2015)

Gene Allen

On October 7, 2015, art director Gene Allen passed away at the age of 97 in Newport Beach, California from natural causes. Among his many achievements, he won Best Art Direction-Set Direction for his work on the 1964 Best Picture winner My Fair Lady, of whom the director George Cuckor was a frequent collaborator of his. He spent 27 years leading the Art Director Guild from 1970-1997 and was president of The President of the Academy of Motion Picture Arts and Sciences (AMPAS) for three years from 1983-1985. His massive amount of work continues to be loved for film lovers everywhere for his vibrant style and attention to detail. He leaves behind an impressive catalog that is likely to stimulate your mind.

Birthday Take: Katharine Hepburn in "The Philadelphia Story" (1940)

Katharine Hepburn in The Philadelphia Story

Welcome to The Birthday Take, a column dedicated to celebrating Oscar nominees and winners' birthdays by paying tribute to the work that got them noticed. This isn't meant to be an exhaustive retrospective, but more of a highlight of one nominated work that makes them noteworthy. The column will run whenever there is a birthday and will hopefully give a dense exploration of the finest performances and techniques applied to film. So please join me as we blow out the candles and dig into the delicious substance.