Rupert Goold, “Judy” (2019)
Adapted from Peter Quilter’s musical stage drama “End of the Rainbow”, this bio-pic covers the last twelve months of Hollywood film legend Judy Garland’s life, during which she ( Renée Zellweger) attempts to reinvent herself as a contemporary popular music singer and performer. The film presents as a character study and a snapshot of Garland’s life while she embarked on a disastrous five-week concert engagement in London. From the moment the film starts, Garland’s life is in debt and disarray as she and her two youngest children Lorna and Joey Luft are turned away from their hotel, due to non-payment of their bill, after a concert (in which the children had to perform as well) and are forced to seek help from her ex-husband Sid Luft (Rufus Sewell), the children’s father. In dire straits, and unable to find work in the US because of her reputation for being difficult and unreliable, Garland is forced to accept a contract to perform in London, though this means being separated from her children. She is flown to the UK where she meets the impresario Bernard Delfont (Michael Gambon) who organised the contract, and Rosalyn Wilder (Jessie Buckley) who has been assigned to her as her personal assistant.
The concert engagement meets with numerous problems, most of which are Garland’s own making: she has substance abuse issues, is unable to sleep without taking sleeping tablets, she is late for her concerts because of anxiety attacks and low self-confidence, and most of the time on stage she appears drunk. During this period, a new friend and nightclub owner Mickey Deans (Finn Wittrock), whom she had previously met at a party thrown by her elder daughter Liza Minnelli (Gemma-Leah Devereux), turns up and keeps her company; he and Garland eventually become close and marry. In one scene, two gay men who are Garland fans ask her for autographs and the three end up going to the men’s apartment for a meal and drinks, followed by a knees-up at the piano and then the men’s emotional discussion with Judy about how her music and films have comforted them and helped sustain them and their relationship over the years before 1967 when homosexuality had been a crime under British law.
The film has no real plot as such and relies heavily on Renee Zellweger to pull off a bravura performance as Garland, which she does completely, disappearing entirely into her character with all her faults and the self-destructive behaviour that alienates the people who love and care for her, and which instead propels her to unscrupulous and powerful men who exploit her talent, determination and hard work. Flashbacks to Garland’s teenage years while working on the film “The Wizard of Oz” – here Garland is played by Darci Shaw – reveal Metro-Goldwyn-Mayer studio’s control and manipulation of Garland, in particular control of her physical appearance and weight. Studio head Louis B Mayer (Richard Cordery) and his executives force Garland onto a diet of pills to delay puberty, suppress her appetite, keep her as petite and slim as possible, and to wake her up or put her to sleep. In these flashbacks, we see something of Garland’s rebelliousness (that led to her being difficult to deal with and her lack of punctuality and inability to stick to a schedule) as well as the source of her dependence on various prescription drugs, her inability to sleep and her eating problems. The character’s self-destructive behaviour, her low self-esteem, her vulnerability and reliance on other people (especially men) and her mercurial temper become understandable when her background becomes known. The other actors tend to be walking wallpaper around Zellweger, in large part because of the roles they have to play and often the limited time they are allocated to play them. Their overall performance is solid and consistent.
While the film obviously condemns Hollywood’s early exploitation of child actors such as Garland, it says nothing about the studio system in which actors, adult as well as child actors, were tied to particular studios in long-term contracts lasting several years in which they had to submit to being groomed and were required to perform in X number of films. “Judy” also has very little to say about how Hollywood exploited people’s hopes and dreams during the Great Depression (the period in which “The Wizard of Oz” takes place) and how Garland’s early girl-next-door reputation with its associations of wishing and hoping for a better life was forged in this context – and how the real Garland herself ended up sacrificed to this reputation.
Probably the closest the film comes to exploring Garland’s relationship with her fans, and the burden of expectations and hope that they place on her, as an extension of Hollywood’s exploitation of her, is in her relationship with Mickey Deans and her meeting with the starstruck gay couple, but these relationships are dealt with quite superficially: in particular, Mickey Deans disappears from the film when the couple have their first tiff. Garland’s encounter with the gay couple highlights the special relationship the singer / actress long had with the gay community but while the film emphasises how Garland had inspired the community to hope and dream for acceptance, it also insinuates (unintentionally, I suppose) that the gay community did little for Judy herself.
Ultimately, as an examination, however superficial or deep, of the way in which Western capitalist society manipulates people’s escape into fantasy from oppression and their hopes and dreams by placing responsibility for them on the shoulders of vulnerable role models like Garland – who was expected to perform like a trained monkey but was shunned when she ended up acting like a normal human being put under the same oppressive system for far too long, either by rebelling and being “difficult” or breaking down physically and mentally – “Judy” is silent on this irony.