A review of the new Bio Pic on Judy Garland “Judy”
Get ready for a Moving Ride
Judy Garland was an enormously gifted talent, and even this maybe an enormous understatement. Of all of the Stars of her era, she is the one rare few that still burns as brightly. If you want an idea of what made her special seeing her version of “A Star is Born,” illustrates what set her apart from her peers.
To even portray someone this overwhelmingly talented is a herculean feat. Fortunately for us, Renée Zellweger gives it her all. She literally disappears into the role. There are moments where you forget the actress and only see Garland.
Some critics have diced and sliced her performance to pieces, but Zellweger successfully captures what made Garland a star, and those delicate performance moments that remind you why she was great. If an actor can pull this off, no matter what technical criticisms, this is nothing short of miraculous. It is to Zellweger’s great credit that she has the vocal ability to recall Garland without sounding like an over done karaoke imitation of her.
The complexity of such a multi-faceted performer adds difficulty to an already difficult project. But this film does an admirable job of presenting its star without exploiting her. If anything, “Judy” humanizes its subject in a way a number of bio pics have had difficulty in doing.
Rather than create an entire over view of the life of Garland, something better left to a miniseries anyway, this film captures the last few months of her life. Nearly homeless with her two children in tow, she has to make the sacrifice of leaving them in California to perform in London. It is a comeback of sorts, but filled with problems, pain and pills.
What Judy touches upon, and it is the rare one that has, are the unique sacrifices women make who are artists. The conflicts that come with wanting a normal family life and children versus the sacrifices that art demands. Even the ever machinery that makes stardom possible has plagued creative people. But, for women there is the criticism that comes with having a family and following a dream that men remain still largely immune.
Depicted in no uncertain terms are the outrageous expectations of a then studio system that saw no moral problem with plying their young star with pills to get up, stay up, and also fall asleep. The roots of Garland’s addiction make her an even more sympathetic figure.
When this film goes for the deeper emotions, it carefully avoids the cheap sob sister tear jerker antics. There is a phone exchange between Garland and the then young Lorna Luft that is heart breaking it its simplicity. It is a poignant moment that captures a myriad of emotions with an economy of expression. As small as this moment it, it is searing and heartbreaking.
The film’s most optimistic moments are obviously the performances. There is something that feels fresh, lively even a bit subversive about them. Let me elaborate. In an entertainment world where elaborate sets, overt sexuality, gimmicks, and costuming are the norm and not the exception, seeing a singer simply sing and project emotions feels contemporary. Seeing an artist using her voice, hands, arms and body language to express a song without accessories feels like something very new now. Even the melodies are reminders of what melodic songs could do without thick production. This was a time when high tech could not compensate for a singer’s short comings.
Ultimately “Judy” is a homage and reminder of what true original talent looked like and what transpired behind the mirrors to make it all possible. As a bio pic, this one stands in a class all of its own. Dark, impressive and powerful, this is one movie that will leaved you moved. Not since Bette Middler’s “The Rose,” has a film come this close to covering this terrain so very well. This is must see cinema.
