Judy clicks her heels three times to transport us to a world of melancholy and self-destruction. Somewhere over the rainbow lies Judy Garland. An innocent, fragile and talented young actress who infiltrated silver screens and rapidly shot to fame. The voice of an ethereal angel. MGMâs golden girl.
But behind the lavish productions and beneath that unimpeachable smile, was an undisputed amount of pressure. A malleable marionette susceptible to the puppetry of Hollywood. A product of ruthless executives. Garland was no longer a person. Her individuality brutally reaped by higher authorities, manipulating her into believing she was physically unattractive. Starving, pill-popping and overworked. That was the cruel life of Judy Garland. The glistening glitter and the iconic voice, mere facades masquerading the suppressed pain. Unfortunately though, her repressed childhood and early stardom steered Garland into a life of alcohol and substance abuse. The yellow brick road wasnât so golden after all.
Gooldâs biopic (and part adaptation of the Broadway play) dramatises her later career, forced to perform a sell-out tour in London due to her unreliability in the States. Her unworkable state being a consequence of substance abuse. Clumsily walking out into the spotlight that she undoubtedly adored. That inevitable lust for fame. A legendary status. Trapped, her battle for the custody of her children raged on. Torn between the natural instinct of motherhood, and the only element of her life sheâs ever known. Her profession. Edgeâs screenplay, whilst surface level on certain aspects which merely imitated a biographical article instead of further sentimentalising Judy as an individual, eloquently explored the dangers of fame at such a vulnerable age. The inability to have a voice. To be bossed around by studio executives who see her as an asset rather than a human being.
Itâs very much a by-the-numbers biopic, and Gooldâs blend of light and darkness within his direction made this comparable to the equally melancholic âMy Week With Marilynâ. Snippets of fans announcing their adoration for their idol, empowering the eponymous star even further. That joyous search for justification. But the sorrow never fades. Gooldâs constant tone of desolation throughout, whilst teetered on unnecessary melodrama, honed in on the impact Garland made. Thereâs nothing more tragic than witnessing an individual undergo self-destruction, and Goold rarely distracts us from this.
It all comes down to the central performance. The actress who is in every scene, devoting her soul into the character. Ladies and gentlemen, Zellweger became Garland. Astonishingly embodying her right from the immediate title card. Iâll be irrefutably disappointed if she does not garner awards for her performance. Not only is it a career best, itâs quite simply the best of the year. The nuances, the voice, the erratic body movement. Rarely does a performance make me lose sight of who is actually acting. During that final rendition of âOver The Rainbowâ, my eyes moistened. No longer was I seeing Zellweger, but Judy herself. It was cathartic. It was reincarnation. It was divine. Goold bravely shot the performances as one take sequences for the most part, which has to be applauded for artistic integrity. It did however make the lip syncing incredibly obvious which frustratingly pulled me out of the film. No fault of Zellwegerâs stunning performance though. Rising star herself Buckley deserves some praise for her crystal clear performance. Such delicate clarity against the chaotic Garland. Wouldâve liked to have seen more from Gambon and Sewell, but appreciate the film is solely focussed on Zellweger.
The film wouldnât work without her. Garland has never been depicted with such compassion before, and it's an amalgamation of quality over quantity. Itâs not big. Itâs not flashy. Itâs just honest. Garland herself wouldâve been proud, and we will never forget her. But please, do bring a box of tissues with you...
