The concept of the script is very good, similar to [The Last Week with Monroe]. It is based on the last career and life of a real character before his death. This is interspersed with some clips of Judy Garland's Girls' Generation.
The reality part is more conventional, and the flashback part adds a moderate sense of form to express the mood of the characters. In the past tense, I like the opening close-up "brainwashing" to the scene of walking into "The Wizard of Oz", as well as the early birthday party, the inedible cake and the assistant's farewell surprise at the end of the film are echoed, and jumping into the fish tank-like swimming pool is also very metaphorical .
Similar to [The Clown], which won the male protagonist, there are still major problems with the script. The outstanding performance of the film mainly depends on the contribution of actors' performances and photography art, and lacks another main character to build character relationships, thereby highlighting the mood of the core characters. The most wasteful is the role of the assistant. The roles of the piano accompanist and the male singer Lonnie also lack in-depth characterization. On the contrary, the fifth husband Mickey seems to have become the male lead, and the shaping of this character is also slightly rough, and the choreographer's intention is conceptualized. and blurry.
The most moving scene in the film is when Judy goes to the couple's house to have "dinner". The failed egg pancakes and the crying in front of the piano at the end are touching. The couple reappeared at the end of the film. Judy's sudden farewell performance was sobbing in "Flying Over the Rainbow". The man who used to cry stood up and continued to sing. Then his partner who had been imprisoned for six months for "indecent assault" also cried. The singing begins, and the respected audience also respects the actors on stage, and one after another, the tragic Judy finds a moment of solace. This group of secondary characters also hints at Judy's special status as a gay icon, and even without considering such a background, the two scenes are the most moving parts of the film.
Renee Zellweger's performance is actually very reliant on excellent character modeling. The clothing has almost removed all Zellweger's labels (fat girl, blonde), and the actor's own efforts include not only obvious weight loss, but also body language control. , has been sticking his head slightly, the obvious hunchback almost looks like Judy. Don't be afraid of the imprints of age, and wrinkles in heavy makeup are especially moving.
The best shot is actually a cutscene. Although she was firmly opposed to giving custody of the two young children to her ex-husband, after learning that Mickey's "plan" failed and the show was in chaos, Judy called her daughter on the street late at night. On Judy's side, the dark red phone booth reflected the heavy makeup and sad Judy. On the other end of the phone, her daughter was reflected in the California sunshine. There was a hint of helplessness in her calm tone. The child longed for her mother, but she needed a little more basic stability. . The tone atmosphere on both ends of the phone is excellent, which is a perfect boost for the performance.
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