“If you’re a star, you don’t stop being a star.”
Davis — who purportedly had Joan Crawford in mind when playing Elliott — gives a nuanced, sympathetic performance as a woman unable to face the reality of her circumstances. The scene in which she watches herself in a screen-test, cringing in horror at the results of her vain refusal to accept her director’s guidelines, is masterful, and her interactions with her ungrateful sister (Fay Baker) and brother-in-law (Herb Vigran) are nicely handled. However, the screenplay is ultimately a disappointment in comparison with the two classic titles referenced above, and it’s hard not to feel frustrated by what could have been done with this juicy set-up. The trajectory of the storyline — particularly Elliott’s romance with Hayden — is too predictable, and some patently overwrought dialogue (“I once thought you were a woman. I was wrong; you’re nothing but a career.”) — place the film squarely in the realm of “women’s dramas”. However, Davis’s performance is strong enough to recommend The Star for at least one-time viewing.
Trivia Note: Fourteen-year-old Natalie Wood plays a small role as Davis’s daughter, with one scene — taking place on Hayden’s boat — eerily foreshadowing the circumstances of her untimely death-by-drowning at the age of 43.
Redeeming Qualities and Moments: