Judy Review: Despite her illustrious career, Judy Garland ends up broke and practically homeless towards the last years of her life. In 1968, she’s left with no choice but to do a series of shows at Talk of the Town, a nightclub in London. This separates her from her kids in the US, but it’s the only way for her to make a decent living at this point. The narrative takes us through the life and times of an American cultural figure with films that shaped pop culture. As most biopics tend to, ‘Judy’ pulls back the curtain on a seemingly glamorous life. As Garland struggles to do the shows and manage her personal relationships, the biopic also gives us a glimpse into her years as a child star who began her career at an early age.
It’s often unnerving to see how Garland was treated in her younger years. She was plied continuously with amphetamines to keep her going through rigorous shoot schedules and then with barbiturates to get her to sleep for a few hours. Gradually, the years of intimidation and manipulation by studio head honchos took a toll on her physical and mental health. Renée Zellweger paints a sentimental portrait of the late star. While the script follows the now typical biopic scenario of a fallen star trying to make a glorious comeback, Zellweger’s performance allows the audience to overlook most of the familiar tropes. The actress captures the essence of a victim of the Hollywood system – an incredibly talented woman broken down and left to fend for herself despite her immense contributions to the entertainment industry.
The rest of the cast is mostly consigned to secondary characters around the central role. Their relationships with Garland don’t resonate deeply, as the screenplay moves through the motions from one hurdle to the next. The only distinct exemption is a fictionalised gay couple who form a friendship with Garland. This equation also pays off in the climax, and although it may be manufactured, it does well to represent the impact she had on her fans, and particularly as an icon for the gay community. Although these insightful moments are missing from most of the film, ‘Judy’ stands strong on Zellweger’s career-defining performance.
The rest of the cast is mostly consigned to secondary characters around the central role. Their relationships with Garland don’t resonate deeply, as the screenplay moves through the motions from one hurdle to the next. The only distinct exemption is a fictionalised gay couple who form a friendship with Garland. This equation also pays off in the climax, and although it may be manufactured, it does well to represent the impact she had on her fans, and particularly as an icon for the gay community. Although these insightful moments are missing from most of the film, ‘Judy’ stands strong on Zellweger’s career-defining performance.
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