It’s no secret that making the transition from a musical performer to a screen actor is not simply a walk in the park, with the two mediums requiring wildly different demands from their performers.
This doesn’t stop a multitude of musicians making this leap, however, with the majority putting on an uninspiring performance as they misunderstand the line that separates cinema from music. With that being said, there are always those that buck this trend, such as the likes of Justin Timberlake in The Social Network, Mick Jagger in Performance and Lady Gaga in A Star is Born.
In fact, when it comes to Gaga, the multi-platinum-award-winning musician, she has effortlessly slipped into a life on the silver screen, making an impact with performances in the aforementioned A Star is Born alongside her most recent appearance in House of Gucci, directed by Ridley Scott. Narrowly missing out on an Oscar nomination for her role in the film, Gaga received worldwide praise from fans and critics that celebrated the dedication of her performance.
Discussing her character in the film in an interview with British Vogue in 2021, Gaga revealed how she utilised method acting for the role, telling the publication, “It is three years since I started working on it and I will be fully honest and transparent: I lived as her (Patrizia Reggiani) for a year and a half”.
Rarely breaking character, the role saw Lady Gaga speaking with an Italian accent for a whole nine months, with the actor stating: “I started to live in a way whereby anything that I looked at, anything that I touched, I started to take notice of where and when I could see money”.
Having only recently made the transition to become an actor, Gaga has always held a long-standing appreciation for the artform, telling The Washington Post in 2017 that she has a particular fondness for horror. “I have an obsession with death and sex,” the performer exclaimed before she cited the French film La Haine as her favourite film of all time, despite it being rather devoid of heavy graphic violence.
Directed by Mathieu Kassovitz, the story of Vinz (Vincent Cassel), Saïd (Saïd Taghmaoui) and Hubert (Hubert Koundé) is one that has since gone down as a classic of French cinema and has even permeated into the identity of subcultural groups.
Released in 1995, the film tracks the lives of three young men living in the Paris suburbs shortly following violent riots in the city. A ‘slacker movie’ at heart, with deep contextual roots that speak of social and racial injustice, La Haine is considered an essential cinematic text, studied in film schools across the world.
Changing the way that independent cinema was marketed and digested by global audiences, La Haine remains a culturally pertinent film, with fashion brands such as Carhartt and Reebok taking part in a collaboration with the movie. Popularising a certain style of streetwear, the influence of La Haine reaches far and wide, not stopping at its mere cinematic greatness.