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summary: Legendary performer Judy Garland arrives in London in the winter of 1968 to perform a series of sold-out concerts

Audience score: 29518 votes

creators: Tom Edge

Stars: Finn Wittrock

genre: Romance, Drama

Country: UK

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Renée plays Judy Garland in an engaging and convincing manner.
The best movie I've seen in 2019, no doubt. Trotting from sleepless hotel bed to backstage chaos, and never far from a bottle, it's a compelling, dryly witty portrait of an aging icon on the skids. But director Rupert Goold (True Story) layers it nimbly with Garland's origin story, in colour-saturated flashbacks to the punishing shoot for 1939's the wizard of oz that sealed her fate. MGM's best money-maker was an abused teen, on a ruthless regime of crash-dieting, pill-popping and work. Faced with rebellion, mogul Louis B. Mayer bullies Judy mercilessly: You're a fat-ankled, snaggle-toothed rube from Grand Rapids." Studded with stinging memories and chewy themes (such as the tug-of-war between family and fame) Tom Edge's script, adapted from Peter Quilter's hit play End Of The Rainbow, is needle-sharp and mostly free of showbiz schmaltz. Garland's stage fright and famous unreliability keeps things tense, making Zellweger's first-night transformation from droopy old drunk to stage-storming trouper roaring 'By Myself' an absolute belter.
Goold's camera sticks second-skin close to Zellweger, generating a nervy intimacy as it slides through pitchperfect '60s interiors. For a small movie, Judy glitters with confidence, especially in the stage performances, shot mercilessly close with few cuts, like a concert film. But Goold's fierce concentration on his leading lady means fine supporting performances (Rufus Sewell's weary ex-husband Sid Luft or Finn Wittrock's starstruck boyfriend, subject of a hopeful romance) get little legroom. The exception is a cosy sub-plot in which gay fans Stan and Dan have the encounter of their dreams.
Like a livelier Jackie, the film is a transfixed, unflinching up-close look at a legend. Zellweger carries it off magnificently, her trademark combo of wit and vulnerability fitting Garland as expertly as her silk stage-suits. In an extraordinary vanity-free performance (Garland resembled a haggard if perky pixie by this stage) she pivots from heartsick, long-distance mothering to full-wattage showbiz queen in an instant. She has Garland's twitchy mannerisms and resilient wisecracking down pat, but this is more masterly interpretation than impersonation. As is her singing voice, no longer the breathy coo of Chicago but a smoky, surprisingly powerful instrument that wraps itself around the viewer. When she goes over the rainbow, you're going with her.

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