Customer Reviews

I Could Go On Singing

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1 star:		(1)

 

 

A brilliant and still vastly underrated film is I Could Go On Singing, best remembered as the last film Judy Garland made in her extraordinary career. Some of her finest acting and singing are contained in this work, the story of which is, true as they say, pure soap opera, but riveting nonetheless, even for non-Garland fanatics. Contrary to what some have written, Garland looks beautiful in this film, quite healthy before she lost a bit too much weight for her television series a few months in the future. Yes, she is not always costumed correctly and, at times her face and figure do suggest a haggard, bloated appearance. These moments are, in my opinion, few and far between and for the majority of the film, Garland appears totally in control with radiance about her face that, unfortunately, she did not have later on. Better yes, her acting and singing are quite without equal, on the same level as some of her previous films. One number, "It Never Was You" is actually sung "live" and not prerecorded as is the usual procedure with musical numbers. In numbers such as the title song and "Hello Bluebird", Garland looks like she is having a total blast. My favorite has always been "By Myself". Her rendition and performance of this song has to be heard and seen to be believed. As Aretha said in her autobio, Garland WAS a SOUL singer. Her acting with and without the handsome Bogard is also of a high standard, especially the justly famous scene where Bogard tries to persuade Garland to perform for her audience that is waiting for her. A scene of raw emotion that is a bit difficult to watch...one feels like a voyeur witnessing what should be a totally private moment between two people.
Watching this film makes me appreciate the considerable talents of Garland all over again. She was a true "DIVA", the like of which do not exist anymore.
Luigi ~ nyc

By the time Judy Garland filmed her final motion picture "I Could Go On Singing", Judy knew how to act and pull out all the stops better than anyone & in superb voice giving one of the most powerful film vocal performances ever in this sadly overlooked entertaining motion picture for years my all-time favorite! Garland looked sophisicated and every inch the Superstar (do a blow-up of the stunning cover and you will see what I mean!!!) and had a great supporting cast all perfectly cast including an engaging performance by Jack Klugman as fiesty manager. Musical numbers filmed before a live audience added excitement to Judy's magnificent performances and electricity from Garland's preparation moments before her entrance before the audience are soulfully charged and incredible to experience...legendary & memorable. Garland at this time was THE most magnetic and soulful performer around and this engrossing performance should have been at the least nominated for an Academy Award just as Miss Garland should have won the Best Actress Oscar for the classic performance in "A Star Is Born" but that is a totally different story being one of THE legendary "Oscar Blew-It Stories" of all time with Groucho Marx exclaiming it was the biggest robbery since Brinks...in High School when this magnificent musical drama came out, premiered Chinese Theatre on Hollywood Blvd., audiences wildly applauded each of these extraordinary musical numbers and only happens in few musical films mostly featuring Judy, Barbra, and Liza Minnelli! Stormy passionate power of Garland's incredible performance of the riviting "(I'll Go My Way) By Myself" is a stunning vocal that is mind-blowing as is the magnificent "Hello Bluebird" making these great songs all-time top musical performances ever in motion picture history...quite and haunting "It Never Was You" with just Judy and piano in a masterful live take with Garland at her sublime best and again riveting and making an anthem-like performance out of the great title song "I Could Go On Singing" and you just wish she would have gone on and on and on and would have with more support from the entertainment industry and media...for shame to them both. Dramatic scenes are intense and try not to be incredibly moved when you watch the brilliant interplay between Judy and Dirk during the amazing legendary hospital scene..."Oscar" calibre performance from both! Throughout Judy is at a dramatic peak along with smooth comic touches playing out each scene with her "Son" and "Dad" with remarkable depth and sensitivity. Thankfully classic movie has been preserved first with VHS release and now DVD for anyone wanting to enjoy the greatest entertainer of the century giving one of the most soulfully charged performances of her incredible lifetime! Bravo Judy and am happy this great performer and classic LEGEND happened in my lifetime and miss you lots Judy...RIP

Yes, you read that title right. I think "I Could Go On Singing" is greatly underrated. I actually consider it better than the excellent "A Star Is Born," which frankly -- George Cukor, forgive me -- needed some of the cuts it got.

In the semi-autobiographical role of Jenny Bowman, Garland gives an amazingly vulnerable and vital performance. She's in great vocal and physical form for the musical numbers, and although she doesn't look her best (you'd swear she was 10 years older than her actual age), she's fully engaged dramatically as well. Her hospital scene with Dirk Bogarde, where she talks about the life of a performer, has so much subtle shifting between emotions that it takes one's breath away. That alone should have earned her an Academy Award for this performance.

But the film offers even more than that. It's extremely well directed by Ronald Neame. The musical numbers boast very creative camerawork that considerably heightens the excitement -- "It Never Was You" is a case in point. They are the closest we have to seeing Judy Garland "in concert" in a movie (it can be argued that her TV series did the same on the smaller screen).

And the supporting performances are very fine. Bogarde, always an excellent actor, holds his own against the force of nature that is Garland by playing yin to her yang. The other actors are equally good. The script, too, is solid, and it refuses to take the easy "happy ending" route at the end, to its credit.

Unfortunately, MGM has released this movie with minimal care. The image transfer should have been much better (the reds, in particular, are highly unstable). As another reviewer mentioned, the DVD should have been anamorphic (enhanced for widescreen television). This film also deserved a commentary track and other extras, and there are none here. But, that said, this bare-bones DVD is inexpensive, so don't hesitate to buy it. Perhaps if MGM sees a high demand for this title, it will release a Special Edition in the future -- not likely, I know, but we can always hope.

No one else could have played this role as well as Judy Garland. She makes you laugh, and cry. And just the thought that this was the last motion picture that she would ever make just breaks your heart. If you can only get a used copy, get it, and watch it. Judy from the beginning of her career to the end of her career only became better. Many people have picked her to pieces in her final years, but when one realizes the hurdles that she leaped to give such fine performances they can only applaud her, and be thankful for such a person!!

In this, Judy Garland's final film, she finds herself alone onstage, singing her heart out, giving her audience love... which has been denied her. Judy plays an almost-mirrored image of herself, a singer who is famous and talented, with every reason to be happy... and is miserable. She sees a chance to find happiness during an engagement in London, and tracks down her ex-lover (Dirk Bogarde) and their illegitimate son that she gave up for a career so many years ago. There is an instant attraction between the singer and her son, but she decides she wants him to stay with her... and Bogarde will not hear of it, a severe blow to her. She vows never to sing again... For Garland fans, the film is a pleasure: they see Judy (in great voice) in concert in the film, as well as Judy the dramatic actress. The drama comes through beautifully: Garland and Bogarde play wonderfully together in the film's most memorable scenes, and their chemistry is absolutely fascinating to watch. But the movie's hardest punch is seeing Judy Garland literally as Judy Garland, a woman fighting for love, and a woman of hardness and frustration at life. "I Could Go On Singing" is literally, to quote the movie's trailer, "the story of a singer whose excitement never stops; whose songs never end". And if Judy Garland had to leave the motion picture, she certainly left with a bang... and her heart "on the wings of a song-singing day.".

"I Could Go On Singing" stars Judy Garland as famous songstress Jenny Bowman, who, while performing a series of concerts at London's famous Palladium, returns to see old lover David Donne (Dirk Bogarde), and requests access to their son Matt (Gregory Phillips). Initially skeptical, David agrees to introduce Matt to his estranged mother, but simply as a friend, and when he's called away to Rome on business, Jenny takes the opportunity to build a relationship with the son she agreed never to see. Upon David's return, Jenny must make some tough decisions: will she sacrifice her stellar career to become a mother to a relative stranger?

Many stars of Garland's magnitude have less-than-stellar Final Films: poor Joan Crawford made a swill-like mess called "Trog", Lana Turner went out on a low note in "Bittersweet Love", Greta Garbo disappeared after the weak "Two Faced Woman", and Norma Shearer hit the road after the candy-light, deadly dull "We were dancing". It's odd, and yet somehow fitting, that Judy Garland, a notably less-reliable actress than any of the above listed, should finish her film career with such an excellent performance in a nicely understated, touching and thought-provoking piece like this one. She brings a level of maturity to the role that's palpable - in particular, her opening scenes with Bogarde (on fine form himself as the overprotective David) and her scene in the hospital are excellent examples of the plausible, magnetic character Garland created here. Okay, so there are obvious parallels with Jenny Bowman's life and Garland's own - but leaving them to one side, it's still an excellent performance.

Bogarde as David and Gregory Phillips as Matt provide ample, multidimensional support for the central role of Jenny, and thanks to their obvious talent as actors, don't fade into the background as mere extras in a Judy Garland Picture. They share one big scene together after David's return from Rome and it's a beauty - a really insightful bit of writing and an excellent illustration of the nature of their relationship.

Direction, scoring and script are all top-drawer - but, contrary to most of Garland's other movies, the musical numbers are toned-down and pared back: a wise move, considering Garland in concert mode is one of those iconographic things you can't associate with anything else. And yes, Jenny Bowman's performances are pure Garland - but they don't run the show in "I Could Go On Singing", and director Ronald Neame is to be thanked for that.

All in all, this is an excellent movie: moving and clever, and one that's well-worth owning. Highly recommended.

Judy Garland's last movie, a bittersweet tale about a singer coming to know the son she gave up at birth....the ironically-titled I COULD GO ON SINGING. Dirk Bogarde co-stars but this is never anything but Garland center-stage, giving a fabulous dramatic performance as jet-setting singer Jenny Bowman (belting out several great numbers including the effective Title Song).

Many scenes chillingly seem to reflect Garland's own personal life. Perhaps this is why the film is so intriguing. Clearly Garland was able to `channel' herself more or less into the role of Jenny Bowman, so much so that we begin to ask how much of the character is Garland herself (even Leslie Bricusse has said that Garland seems to eerily predict the last months of her life in several scenes). A top dramatic and musical film.

MGM has released I COULD GO ON SINGING on a well-presented DVD containing the full-frame and letterboxed widescreen versions of the movie. Also starring Gregory Phillips, Aline MacMahon, Jack Klugman and Pauline Jameson. Entirely-filmed in the UK.

Sure, if you want to see Garland at her absolute peak, see the earlier MGM classics referenced in the intelligently written "Guilty Pleasures" review. Still, for those of us who are fascinated with the full spectrum of Garland's work, there is much to recommend "I Could Go On Singing"--despite its obvious flaws. Greatest of these is the warmth and straightforwardness of her rendition of "It Never Was You." Additionally, the authenticity of her acting in this film is striking. As an example, the love she felt for real-life son Joey Luft is well-documented. The love she conveys for her son in this movie gives you a sense of how she must have behaved toward her real son.

Garland's final film appearance is a superior soaper concerning a neurotic singing star who is locked in a battle with her ex-husband over custody of their son. Garland's performance in the film is often borderline autobiography, with the star chewing scenery and creating backstage chaos-- only to explode onto the concert stage in a surge of high-energy talent. Interesting film, particularly for its often near-documentary scenes.

There are a lot of negative things you can say about this movie: it's a soap opera; you know where it's going ten minutes in; with one exception, the songs are all original, and all lame, especially when compared to Judy's concert songs they're supposed to sound like. BUT none of that matters.
I was lucky enough to see Judy in concert a year before she died, and this movie gets it right--the interplay with the audience, the moves, the power of Judy at her height (as opposed to her tv shows where she looked awful and often seemed terrified)--and is as close as we will ever come to having Judy in concert at her greatest on film--and in color! Technically, Ronald Neame also gets it right--his camera is fairly passive, allowing Judy to do the work in long takes that respect both Judy and her audience.
Two other things need to be said: 1) Before Cabaret, this picture spliced together a plot with concert numbers that commented on or reflected that plot. Example: When things fall apart, and she'll never get to see her son again (not exactly a spoiler--it's a '60s soap opera!), she sings the one non-original song, I'll Go My Way By Myself, and it's absolutely stunning. And 2) Judy was a brilliant actress, and her dramatic performance is transcendent. In casual scenes she is so natural you'd swear she's making the dialogue up as she goes along (and she might well have been, but the other actors in the scene work well with her) in a way that can be put down as "not acting," but there was a real art to this artlessness. And in her dramatic scenes (at least one of which she wrote for and about herself--you'll know it when you see it) she is fearless, going emotional places that no "trained" actress would ever dare. Only when you see the out-takes (as in the dressing room scene with Charles Bickford in A Star is Born)can you believe that it's really "just" acting.