Throughout the past few weeks, many critics have devoted their time to thinking and writing about the specificities of Bradley Cooper’s remake of A Star is Born.
Inevitably, much of this criticism gravitates toward the magnetic performance of the film’s biggest star, Lady Gaga. A Star is Born is perhaps the perfect film for her onscreen debut, as each time it has been remade it offered its stars (Judy Garland, Barbra Streisand) the chance to reflect, play upon, or reject the narratives of their own careers.
Gaga’s performance is part of a long tradition of superstar singers and musicians expanding their artistic horizons and venturing into the world of cinema. Being an electrifying and talented onstage performer does not necessarily translate to the cinema, but there are many instances where singers are able to shape, manipulate, or altogether shed their celebrity personas to inhabit characters within cinematic narratives. There are of course many multi-talented celebrities who seem to move seamlessly between various media – think Will Smith, Janelle Monáe, Queen Latifah – but here I am concerned with those who are best known for their musical careers who then decide to pursue acting.
The following are five film performances by singers that demonstrate the power of these artists to enchant, bewilder, and surprise us with their talents.
Cher in Moonstruck (1987)
Norman Jewison’s 1987 romantic comedy is almost universally beloved, and with good reason. Cher sparkles in Moonstruck as Loretta Castorini, and imbues her character with maturity beyond her years and a guarded exterior that breaks down when she falls passionately for Ronny Cammareri (a never-better Nicolas Cage). Cher embodies Loretta beautifully as she struggles to reconcile her practicality with the part of her that longs to be messy and romantic. Considering Moonstruck against her other performances in The Witches of Eastwick (1987), Burlesque (2010), and most recently, Mama Mia! Here We Go Again (2018), it becomes clear that Cher is an expert at embracing and playing up the facets of her persona that are campy, glamorous, enchanting, and witty.
David Bowie in Twin Peaks: Fire Walk With Me (1992)
https://youtu.be/rHl_8WK8w3Y
David Bowie was a master of manipulating and experimenting with his outer persona, confronting us with questions of identity and stardom over a span of five decades. He gave many brilliant film performances – The Man Who Fell to Earth (1976), The Hunger (1983), The Prestige (2006), and my personal favorite, Labyrinth (1986) – yet none match the diabolical power of his minutes-long monologue in David Lynch’s Twin Peaks: Fire Walk With Me (1992).
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