Originally published in The Baum Bugle, vol. 63, no. 2 (Autumn 2019), pg. 40
Citations
Chicago 17th ed.:
Kilgore, Garrett. Review of Judy, Baum Bugle 63, no. 2 (2019): 40.
MLA 9th ed.:
Kilgore, Garrett. Review of Judy, The Baum Bugle, vol. 63, no. 2, 2019, p. 40.
(Note: typographical errors have been left in place to accurately reflect the printed version.)
JUDY
Released September 27, 2019
Directed by Rupert Goold
Starring Renée Zellweger (Judy Garland), Jessie Buckley (Rosalyn Wilder), Finn Witrock (Mickey Deans), and Rufus Sewell (Sid Luft)
There is a moment in Gypsy, late in the evening, where the tour-de-force entertainer Rose announces, “Ready or not, here comes Mama!” The new movie, Judy, seems to have taken that sentiment as its driving spirit—and for the most part, it delivers.
Any time the subject of Judy Garland comes up, there are factions who only want to only discuss her demons and the darkness and tragedy of her life. Equally strident in their feelings are the people who wish to ignore her demons and treat her like a saint. I find myself in the middle, recognizing the artist and wanting to celebrate her ability to survive, her humor and her talent, but not ignoring her struggles—yet feeling that some of the darkest aspects are just best left alone. Thankfully, this film has found that middle ground. Her demons are there in full display, but they are softened. For instance, she has drunken fits onstage, but she never debases herself.
The film rests squarely on Renée Zellweger’s shoulders and she carries the weight effortlessly. As someone who was skeptical of her casting, I was very pleasantly surprised. She plays Judy with layers and with a clear respect for her subject. It’s not an impersonation by any stretch of the imagination, and Zellweger never strays into the campy portrayal that others have wandered into or even taken as their starting place. As important as the characterization is, so is the singing, which is remarkably good. Zellweger worked with a coach and it shows, right down to every specific vocal crack that Judy herself put into the songs. Indeed, her monologue before the big song—and her performance of said song—is breathtaking. In the theater, it left more than just me with tears.
The supporting players make little impact. That’s not to say they aren’t good, because they are—Jessie Buckley as Rosalyn, in particular—but it’s not their story. They’re just there to carry us through.
The weakest element of the film was the series of flashbacks to the filming of The Wizard of Oz. While studio head Louis B. Mayer extolling what’s physically wrong with young Judy’s looks makes an effective opener, the rest of the flashbacks only serve to rehash the stories everyone knows, and frankly. they slow the action to a stop. Darci Shaw is pretty enough as young Judy, but she but leaves no lasting impressions. A better director and screenwriter could have found a way to connect the flashbacks and make them interesting but alas, they just sit there as filler.
Judy is a traditional biopic of a Hollywood and music legend. It does exactly what it sets out to do and largely succeeds at that: it gives an A-List actor the opportunity to win another Oscar. Is it a perfect film? No, but it’s an effective one, which I would certainly watch again.
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