A Reel Review: JUDY

Everyone’s lasting memory of entertainment icon Judy Garland is rooted in THE WIZARD OF OZ (1939), with her singing the melancholy yet hopeful song Somewhere Over the Rainbow. This is for the best, as the later years of her life were filled with financial troubles, alcoholism, and an over-reliance on pills. Her tale is a tragic one which began during her OZ days, and those later years, and how she got there is the subject matter for Rupert Goold’s biopic, JUDY. 

Thirty years after she shot to fame in OZ, Judy Garland (Renee Zellweger), is broke with nowhere for her and her kids to live. Desperate for income, she travels to London to perform in a series of concerts, where her addictions get in the way of her performances. 

There is a philosophy in storytelling, and filmmaking, that says an audience does not have to necessarily like a character, but they do have to feel empathy for them. This Judy Garland is far from the pig-tailed girl from Kansas that the world fell in love with, and is instead a pill-popping hot mess; always late for her shows and quick to snap at those who are trying to help her. But at the same time she is a loving mother who just wants to give her young kids a consistent place to sleep at night. Yes, she is a tragic character, but still portrayed as very human. 

It would be easy to blame Judy for her troubles, as she’s quick to grab a scotch glass or pill bottle, but director Rupert Goold, in his only his second feature film, takes us back to the past to show us where all the troubles began. Judy is shown as a young girl being manipulated by a morally bankrupt studio system, where she is starved to get thinner, fed pills to stay awake and sleep, and subject to unwelcome advances. It borders on child abuse, and the effects are seen in the Judy of the film’s present day. The flashbacks are timed nicely,  and a direct line can be seen from her past to present. 

Goold however still has some in-experience behind the camera. Many shots have odd framing, with some characters hanging off the edge of the screen. Editing lacks any sort of rhythm, and some scenes just drag with little drama. But JUDY still manages to soar when it needs to, with the musical performances staged beautifully, and the dramatic moments that do manage to stick really work well. 

Acting is excellent. Renee Zellweger turns in one of her best performances; looking and sounding just like the Judy of her final years. She plays it tragic but with heart, and does help us feel empathy for her. The rest of the cast, including Finn Wittrock, Rufus Sewell, and Jessie Buckley are all fine, although Michael Gambon is tragically under-used. The show is nearly stolen by Darci Shaw, who plays the OZ-era Judy Garland and nails her young look and mannerisms. 

JUDY plays it loose with factual history, which may be a turn-off for many, but as a story it does function well despite a few bumps. The film ends with only six months left in her life, and if there is one glaring problem, it does not find a way to send the audience out the door on a high note. It’s a cautionary tale to a fault; it’s a downer and doesn’t give the woman her credit for her role in history. But just like the real-life Judy Garland, JUDY is beautiful despite being flawed. 

BOTTOM LINE: See it