If you, like us, have walked into the office today utterly rinsed from a weekend screening of A Star Is Born, you’re not alone. Weary-eyed, broken, listening to the soundtrack on repeat (and repeat, and repeat), watching interviews of Bradley Cooper and Lady Gaga, googling whether indeed Cooper and Irina Shayk are on the rocks (read: silently praying), staring into Cooper’s very blue, very dreamy eyes, listening to that gravelly timbre. Trust us, you’re not alone.
In a film that serves the most unexpected of truths – Gaga can act, Cooper can direct (and sing) – in this instance, we tip our hat to its leading lady.
So in celebration of A Star Is Born, we have rounded up our favourite beauty moments of its female protagonist, the wide-eyed, emotive, gritty and supremely talented Ally – played incomparably by Gaga. Here, a standing ovation for her most iconic, game-changing beauty moments in A Star Is Born.
It was the Ally Jackson Maine (Bradley Cooper) fell in love with – stripped-back, raw, little makeup, hair dark and slightly unkempt. It was also the Ally we fell in love with – a version of Gaga so far removed from the peroxided, made-up Gaga we’ve all grown so accustomed to, and one that was so beautifully jarring. It was Ally at her most beautiful – undone, open, bare-faced.
The daisy-dotted wedding hair
Their at whim wedding called for something equally simple; white lace, rosy cheeks and a single daisy tucked behind Ally’s ear (plus a little wedding cake smeared on for good measure).
the pop star red
Interestingly, it was a change in hair that proved the visual marker of a shift in Ally’s career – from raw crooner to contrived pop star – with her natural brunette turning an intensely bright copper at the command of new manager, Rez. Despite it being an indicator of this new Ally – a manufactured image Jackson in turn despised – it was a momentous moment in the changing narrative of their relationship, and the film.
The show must go on top-knot
In arguably the most poignant and tear-jerking scene, Ally’s rendition of “I’ll Never Love Again” called for an equally theatrical top-knot, curled with drama around her face. It was goose bump-inducing, tear-streaming awe.
The lovelorn lips
This arresting final image – eyes wet, lips stained, hair pulled back – was raw emotion; the remnants of her crimson lipstick made it all the more biting and powerful. Her eyes took us back to the Ally of the first act; tender, exposed and from a makeup angle, pared-back. A roaring, breathtaking conclusion.