TIFF: Judy (2019)

Image courtesy of TIFF

Directed by Rupert Goold, Judy avoids the cradle-to-grave story and focuses on two of the most difficult periods in the life of Judy Garland. The story flashes back to 1939 when a teenage Judy Garland (Darci Shaw) is on the MGM lot making The Wizard of Oz (1939). It's there that she faces long working hours, an overbearing mother and a temperamental Louis B. Mayer. To maintain her weight she's restricted from eating the foods a teenager would typically indulge in and is put on a regimen of pills to reduce her appetite and to help her sleep. It's clear that Judy loves the spotlight but seeks the happiness that comes with living a normal life. As the years pass her two desires seems to be mutually exclusive.

Present day is the last months of Judy Garland's (Renee Zellweger) life. It's 1969 and Garland is struggling to make ends meet. She's forced to come to the decision to leave her children Lorna (Bella Ramsey) and Joey with their father Sidney Luft (Rufus Sewell) and take a job in London. It's there that she finds a welcoming audience of devoted fans. But she's struggling with anxiety, sleepless nights, anorexia and a dependency on pills and alcohol. Her new assistant, the strait laced Rosalyn (Jessie Buckley) is her rock, helping her get on to that stage when no one else seems to be able to. Mickey Deans (Finn Wittrock), a young man she met at her daughter Liza's (Gemma-Leah Devereux) party comes to London to sweep her off her feet. Their whirlwind romance is over as soon as it started. As Garland starts to decline, she must leave London but not without making one last splash, with the help of some good friends.

Image courtesy of TIFF

Judy was adapted by Tom Edge and Peter Quilter from the stage play End of the Rainbow. Zellweger really gives her all to play the part of Judy Garland. She hones the voice, the mannerisms and the presence which is no small task. Zellweger sings in the film and while she's no Judy Garland in the voice department it does add a layer of authenticity to her performance. This depiction of Judy gave me a real appreciation for the legend and why we love her and continue to love her as we do. She was just so genuine. She had an amazing talent, one that superseded anything us mere mortals could ever dream of. But at heart she was just a woman who wanted happiness and love. The story includes her time with her children and we see the pain she feels being away from them. They also added a plot line where she befriends two fans, a gay couple, to drive home the point that she was not only a gay icon but felt deeply for others.

By the end of the film I was really emotional. I found myself swept into this world and deeply moved by the legend of Judy Garland. I did feel the story was overly simplistic especially in how it depicted old Hollywood. Everything was presented as good or bad with very little in between. Mickey Rooney shows up in those early scenes as Judy's first crush and her MGM co-star but we don't see much about their lifelong friendship.

Does a Hollywood biopic have to be factually accurate to capture the true essence of a movie star? With so many biopics coming out we have to wonder if telling the truth is even the point. Or is it necessary to have a blend of fiction and reality to make magic on screen? I'm no Judy Garland expert so I can't speak to the inaccuracies but I do think die-hard Garland fans will take issues with the fictional parts and the focus on Garland's darkest days. I hope they see beyond that and give the film a shot.

This film did remind me of Stan & Ollie, the Laurel and Hardy biopic which also travels to the other side of the Atlantic and tells the story of the legends' last hurrah. I reviewed that film here and also discussed the film and the inherent problems with biopics in my discussion with Carl Sweeney over on The Movie Palace Podcast.

Judy explores the darkest days of Judy Garland's life while also capturing what made her such a beloved legend. Zellweger shines despite the film's flaws.

Judy had its Canadian premiere at the 2019 Toronto International Film Festival.

Coquette (1929)

Directed and produced by Sam Taylor, Coquette (1929): A Drama of the American South stars Mary Pickford in her first ever talking picture. Pickford plays Norma Besant, a "silly little coquette", as she calls herself, who enjoys being the toast of the town. She's the beloved daughter of Dr. John Besant (John St. Polis), and the sister of the equally frivolous Jimmy (William Janney). Norma comes from a wealthy family and could have any guy she wants, including Stanley Wentworth (Matt Moore) who is absolutely smitten with her. Instead she's fallen in love with Michael Jeffrey (Johnny Mack Brown). He's from the bad part of town, has never had a steady job and can't afford the suit he'd be required to wear to take Norma to the Summer social. And Dr. Besant wants nothing to do with him. It's clear that their relationship is not off to a great start. Determined to earn Norma's affection fair and square, Michael leaves for a few months to make something of himself. He returns earlier than expected and the two lovebirds are reunited. When a scandalous rumor makes its way through the town, Michael and Dr. Besant come face-to-face and a tragic incident changes Norma's life forever.

"He's a diamond in the rough."

Coquette was based on Jed Harris' stage play and adapted by George Abbott, Ann Preston Bridgers, John Grey and Allen McNeil. Sam Taylor contributed to the dialogue and the film was produced independently and distributed by United Artists. Sets were designed by William Cameron Menzies.

This film's historical significance is more interesting than the film itself which I found to be quite dull and lifeless. The period between 1927-1929 was crucial as the industry was transitioning away from silents. A talkie debut was a big deal. For Mary Pickford it launched the next leg of her acting career and won her an Academy Award for Best Actress. The Academy Awards were still brand new and Pickford, ever the visionary, decided to campaign for the coveted prize. She did a publicity tour to drum up interest in the movie as well as in her nomination. This is commonplace now but was a brand new concept back then. Pickford's plan worked, the film was a success and she won the award. However, because Pickford was a founding member of the Academy, some felt that favoritism came into play.

Coquette is a silly Southern drama that I found needlessly frustrating. There is a lot of talk especially between Johnny Mack Brown and his rival for Mary Pickford's attention, John St. Polis, but no real action or reaction. Michael is never given a chance to prove himself and Dr. Besant is an elitist jerk. Overall the film lacked the emotional gravity and nuance that would have me feeling invested in the characters and their journey.

Watch Coquette for the delightful Mary Pickford's talkie debut, for the utterly handsome and underrated Johnny Mack Brown and for Louise Beavers who has a small role as the Besant family maid and Pickford's confidante.

Coquette (1929) is available on DVD-MOD from the Warner Archive Collection and can be purchased at the WB Shop. When you use my buy links you help support this site. Thank you! 

This is Coquette's DVD debut. George, D.W. and Matt of the Warner Archive Podcast discuss this film in the Dynamite Dames episode.

Warner Archive Wednesday - On (random) Wednesdays, I feature titles from the Warner Archive Collection. Thank you to Warner Archive for sending me copy of Coquette (1929).

Summer Reading Challenge - Second Round-Up

Photo Source: Vanessa of Superveebs

We've all been busy bees this summer (or winter!) diving into our classic film books and soaking up all that knowledge (or being entertained if you're reading novels!). I'm so impressed by how many wonderful reviews have come through so far. This has been the most active and the most consistent summer reading challenge to date! And we hit a new milestone with our first ever podcast entry thanks to Carl over at the Movie Palace Podcast (I'm on the episode too!).

Here is the second batch of reviews. I encourage you to read them and share them far and wide.

If you're participating in the challenge, please make sure you submit your reviews to the link form on the summer reading page! Only submitted reviews count for the challenge.

Happy Reading!


Andy of AndyWolverton.com
Ice Station Zebra by Alistair MacLean
Reinventing Hollywood: How 1940s Filmmakers Movie Storytelling by David Bordwell




Carl of The Movie Palace Podcast
(all three are discussed in the podcast)
Hollywood Black by Donald Bogle
Dynamic Dames by Sloan De Forest
Forbidden Hollywood by Mark A. Vieira


Erin at Always Classic
Billy Liar by Keith Waterhouse

Lee at Hooks and Pages on YouTube
The Groucho Letters by Groucho Marx
Walt Disney: The Triumph of the American Imagination by Neal Gabler

Photo Source: Welcome to Classic Mollywood

Molly of Welcome to Classic Mollywood
Forbidden Hollywood by Mark A. Vieira

Raquel of Out of the Past
Hollywood Black by Donald Bogle

Rich from Wide Screen World
Banished from Memory by Mary Sheeran

Photo Source: Robby on Instagram

Robby on Instagram
Frank Capra: The Catastrophe of Success by Joseph McBride
Gregory Peck: A Biography by Gary Fishgall

Samantha of Musings of a Classic Film Addict
Seen from the Wings: Luise Rainer. My Mother, The Journey by Francesca Knittel Bowyer (plus interview!)

Sarah on Goodreads
Dark Pages by David Goodis

Steve on Goodreads
An Empire of Their Own: How the Jews Invented Hollywood by Neal Gabler
We'll Always Have Casablanca: The Legend and Afterlife of Hollywood's Most Beloved Film by Noah Isenberg

Vanessa of Super Veebs
Dark Star: The Untold Story of the Meteoric Rise and Fall of Legendary Silent Screen Star John Gilbert by Leatrice Gilbert Fountain
Dynamic Dames by Sloan De Forest

Walter of Walts Popcorn Bytes
The Making of Casino Royale (1967) by Michael Richardson