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Customer Reviews
Average Rating:
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Classic Judy, surprisingly thought-provoking movie
"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.
Rating: 
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Ink-a-dink-a-dink!
I have now seen two Judy Garland movies -- The Wizard of Oz and this one. All bets are off about a third.
I Could Go On Singing has the morbid distinction of being Judy's final film. She plays -- get this -- a world famous tough-talking yet vulnerable vocalist with a tormented personal life and an appetite for prescription medication and martinis. Quite a stretch.
Overall, this movie is a confused hybrid of a melodramatic soap opera, a London travelogue, and a "live" Judy Garland stage performance. It will probably be filed under "Musicals" at your video store, but that's not really accurate -- nobody spontaneously breaks out into Wizard of Oz-style song and dance production numbers. Instead, the tunes are performed by Judy's alter-ego "character" Jenny Bowman at pseudo-live sold out (of course) solo shows at the London Palladium. She sings a handful of oddly forgettable and unremarkable showstoppers, including the title song which features unfortunate lyrics such as these:
I could go on singing, til the cows come home
And the rooster starts to crow, crow, crow
When I see your eyes, I go all out I must vocalize
til you shout "enough already!"
I could go on singing, til the moon turns pink
Anything from Faust to
Ink-a-dink-a-dink!
Not even Judy can manage to deliver this stuff convincingly, but she gives it her best shot.
The notable exception is the little-known gem of a torch song, "It Never Was You" by Kurt Weill, which certainly deserves to be heard more often. There is also some remarkable instrumental soundtrack music by Mort Lindsey (co-composer of the Jeopardy theme song), especially the zippy "Helicopter Ride" symphony and the experimental, Ives-ian "Matt's Dilemma" interlude. And you get to see Judy's son (Matt -- the dilemma being he doesn't yet know he's Judy's son) performing Gilbert and Sullivan in drag, if that's the kind of thing you're into.
Otherwise, Jack Klugman, Dick Bogarde, and the rest of the cast are merely props on Judy's stage, though the kid who plays Matt is a likeable enough chap I guess. Dramatically, though, I Could Go On Singing is awfully cornball, overwrought stuff, and it all comes to an abrupt, unsatisfying conclusion.
It also doesn't help that the MGM DVD is a cheapo affair with no bonus features to speak of (no, the "theatrical trailer" doesn't count) and only barely adequate mono sound.
Grade: C-
Rating: 
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Garland playing herself
Garland was clearly playing a character based on herself here. Don't know about what happened behind the scenes but her performance on screen was as real as ever. The supporting players (most especially Bogarde and Klugman) did a decent job as well. Dirk Bogarde had some great lines and so did Garland. I love this movie. Not one of Garlands most memberable but definitely one of her great performances. IMO
Rating: -
Judy deserved Ross Hunter treatment but didn't get it.
Poorly made-up, coiffed, dressed and photographed, Miss Garland is at a distinct disadvantage before she is even out of the starting gate.
And why leave the starting gate when the story is utterly lacking in either originality and conviction ? not to mention motivation.
Even more ominous is the fact that this vehicle does not find her in the best of voice. Indeed it must be admitted that she sounds a bit ragged with the notable exception of "It Never Was You." This demerit coupled with the fact that the new songs are uninspired at best, renders the film's title open to waggery, as in those audience members who suggest that the word "not" should have been inserted before the word "go".
It's true that the acting of all the players is admirable, quite a feat for this slush. Garland freezes the blood in an angry scene with Bogarde in a hotel room, and in the lovely Stoke Poges scene she again reveals how much more effective she always was, (as in "A Child is Waiting,") when she underplays with inescapable poignance, rather than tossing bathos all over the walls. And it is assuredly true, that in the telephone scene her acting brings to bear all that is great in her.
But it is for Master Phillips that we reserve our especial praise. This young man manages his difficult assignment memorably. How else to explain how he handles his end of that same telephone conversation just as convincingly as just as heartbreakingly?
What a pity that such a lush physical production as this could not have been extended to the star's appearance. One can only wonder how Ross Hunter would have transformed Judy into something recalling her former charms, given the pulchritude he enhanced in Misses Turner, Wyman, Hayward and Dee.
Rating: -
Just Great!
What a great movie! I don't know why this movie isn't mentioned more. It is a terrific filming of Judy's later-in-life persona, complete with a tourists' eye view of good old London, England. This movie is a must-have for any Judy fan!
