Judy

(M) ★★★★

Director: Rupert Goold.

Cast: Renée Zellweger, Darci Shaw, Finn Wittrock, Rufus Sewell, Michael Gambon, Jessie Buckley, Richard Cordery, Bella Ramsey, Royce Pierreson. 

"Is it alive, does it thrive, can it survive under the sun? I can't put my finger on it."

Judy Garland's life is the quintessential "chew 'em up, spit 'em out" Hollywood tale. It's a tragic story that ticked the tabloid checklist of the time - the drugs, the multiple husbands, the rebounds, the rehab, and, ultimately, the sad ending.

It's an unfortunate arc that has long fascinated fans, which is why there have been dozens of biographies, both authorised and otherwise, dedicated to dissecting the Judy Garland myth. It's also a dream role for any actor, as Garland was a bundle of contradictions and complexities, of charisma and chaos, or frailties and fierceness.

Those qualities are fully realised with exquisite detail, warmth and humanity by Renee Zellweger, delivering the performance of her career. She displays all the necessary tics and nuances, but never feels like she's dipping into impersonation. This is an immaculate acting display that ensures we see Garland as a real human, and not just the diva she could have been portrayed as.

Based on Peter Quilter's play End Of The Rainbow, Judy doesn't try to tell the whole sorry saga of Garland's life. Instead it explores a final residency she undertook at a London venue just six months before she died of an accidental overdose. Along with some contextual flashbacks to her youth where she was "owned" by MGM, the run of shows serves as a microcosm to explore the dizzying highs and painful lows that ran through Garland's life.

The script by Edge (as with Quilter's play) wisely focuses on a small time frame to get to the heart of Garland. The flashbacks are interesting (and terrifying), but by zeroing in on her time at London's Talk Of The Town, it ensures the film is not a by-the-numbers biopic that attempts to fit a whole life into two hours. Instead, this is about fitting as much of Garland's personality into the runtime. This is about getting an understanding of the contradictions that drove her.

Through Zellweger's immaculate performance we see Garland as erratic and flakey, yet also an amazing performer and often a true professional. She could be passionate and strong-willed, yet also gullible and frail. She was a mother and a star, and the way all these elements clash and collide against each other is gripping yet painful to watch.

There are rays of sunshine amid the London dreariness. Her encounter with two gay fans, is heartwarming and heartbreaking, as is a climactic rendition of Somewhere Over The Rainbow. In fact every light moment has a patch of sadness to follow, and vice versa.

It might not be the cheeriest of films, but it's a worthwhile watch, if only for Zellweger. She delivers the showstopping musical numbers with aplomb. These songs also help break-up proceedings, ensuring that the weight of it all doesn't become too much. The story never drags, and it's deftly edited to ensure there's a light touch amid the inevitable tragedy.

Goold's direction is to be credited here - this could have been a leaden drama with unwieldy musical interludes, but it flows nicely and never outstays its welcome. At times it feels cliched, but that's partly because Garland was a bundle of elements that became cliches (and partly because the way the story is told is a little cliched). She was the original troubled child star, diva burnout, and Hollywood cautionary tale, all rolled into one.

Judy doesn't shy away from the painful truth of its subject, nor does it glorify or condemn Garland for her troubles. It's celebratory of her immense talents and surprisingly sympathetic, while also leaving enough room to wonder what might have been.