I Could Go on Singing

I had never seen this film until tonight (Feb 2008) and have never been a Judy Garland 'fan', even though I am aware of her life and genuinely admire and champion films like THE PIRATE and A STAR IS BORN; so it came as quite a surprise to me to see this 1962 Brit production in Cinemascope get quite bad reviews and be regarded as 'not a success'. In fact the Variety review of the time is particularly mean spirited. I thought Garland was excellent and natural, the production values while a bit cheap offer great stage scenes and Dirk Bogarde plays a believable past lover. It is rare to see adult Garland play opposite a teenage boy as she does in this strong film and those scenes are particularly moving. I COULD GO ON SINGING is a very satisfying film, and the British setting, the Palladium scenes and the teen drama well achieved and resolved. It is very disappointing to see the bad reviews or the carping when this film is clearly well intentioned, particularly to Garland's career in 1962. No wonder it was her last film, she probable felt kicked in the teeth again like in 1954 after A STAR IS BORN. As a 'formal drama' in a British style, it fits and succeeds. I guess if you also like STAR! and the theatrical movies of this type you will admire this film, as I do. In 2008 this film is quite a time capsule of era production and Garland, and for that we should be grateful.

Judy Garland and Dirk Bogarde provide proof in I COULD GO ON SINGING that they could match each other for sheer power and intensity as far as their performing skills go. Although the film is obviously meant to capitalize on Garland's legend as a temperamental actress/singer with a devoted following, it is Dirk Bogarde's finest hour too. He never once fails to come to grips with what is sometimes an unsympathetic portrayal of a man caught up in a desperate love/hate relationship with a woman who bore his illegitimate teen-age son--and now has designs on getting him back. That's the plot, in a nutshell, and if it weren't for the power of the Bogarde/Garland performances--and some genuinely nice supporting work from Jack Klugman, Aline MacMahon and the boy (Gregory Phillips)--it all might have added up to a hill of beans.

Credit goes to a sincere, straightforward screenplay with some tart dialogue for Judy that sounds as if it came from her own true life experiences. Indeed, there are backstage stories that Judy and Dirk worked on the screenplay to tighten the emotional force of the drama and punch up the lines a bit--and if so, they have succeeded brilliantly.

Not only entertaining as a dramatic showcase for Miss Garland, it is also highly recommended for the musical interludes during which she performs at the London Palladium in great arrangements of material like "Hello, Bluebird!", "By Myself" and "I Could Go On Singing", among other melodies, all in full control of her "vibrato in search of a voice" equipment.

As a swansong for the actress, it is incredibly moving and a tribute to both Garland and Bogarde. Bogarde is especially intense in his emotional scenes--reminding me somewhat of the brooding character he played so well in LIBEL (a courtroom drama with Olivia de Havilland). He had become a mature actor by that time and here he is even more impressive.

. . . to a great artist: Judy Garland. At the end of her fabulous, unparalleled career, Garland made this swansong. Under-appreciated at the time of its release, it now grows in stature, like fine wine aging.

Medical experts warned Judy would never sing again in the early fifties before she made the astonishing "A Star is Born." Then she went on to her historic national concert tours, and fifteen years after "Star" she made "I Could Go on Singing."

Defying all predictions about her career, Garland triumphed. True, it wasn't easy, for her or her fellow actors and crew. Somehow, though, she just kept bouncing back, overcoming the most formidable obstacles.

Here she's supported by an excellent cast headed by Dirk Bogard in a very strong performance. Ronald Neame's direction is on-target, though the script is a bit uneven. Yet the film is looking better and better, and viewers are growing in their appreciation of this legacy of one of the 20th century's most talented and beloved artists.

Saw 'I Could Go On Singing' as a big lifelong Judy Garland fan (since seeing 'The Wizard of Oz' for the first time at 6 years old) and to see everything that she has done.

Have always her an amazingly gifted singer with a beautiful voice and near-unsurpassable emotional connection to everything she sings and she to me was a good actress (especially in 'A Star is Born', 'The Wizard of Oz' and 'The Clock', though have really liked/loved her in everything seen of hers and have found a lot to admire for everything seen in films she stars or features in).

'I Could Go On Singing' is her last film and her swansong, and while Garland does not disappoint by any stretch of the imagination (she is the reason for seeing the film) she did deserve a better final film. 'I Could Go On Singing' is far from bad certainly and has a good deal to admire, but considering the potential and how great its strengths are it is a shame that it wasn't any better.

Due to Garland's illnesses, the film was finished in a hurry and it does show at times in some rushed-looking production values. Pacing is 'I Could Go On Singing's' biggest issue, with some all too obvious padding especially in the interminably self-indulgent "London travelogue" shots used to make up for when Garland was unavailable to film, those parts especially looked scrappy and should have been cut. The script is uneven, some of it genuinely moving and charming others (and too frequently) daft and melodramatically soapy, especially Dirk Bogarde's.

However, 'I Could Go On Singing' is mostly attractively photographed and the London Palladium stage gives an appealing sense of nostalgia. The music and songs are wonderful, especially the powerfully staged and performed "By Myself", the equally heartfelt "It Never Was You" and the rousing "Hello Bluebird".

In terms of standout scenes, the hospital waiting room scene, done in a single take, is particularly fine. It is a painfully honest and heart-breakingly honest scene and one of the greatest examples of improvisational acting on film personally seen, up there with the egg breaking scene in 1962's 'Cape Fear'. Ronald Neame directs admirably and there is enough that is powerful, entertaining and poignant.

Garland is the best asset other than the music, she is simply sensational and while it may not be her best performance it's to me one of them. She is especially good in the songs and in the hospital waiting room scene where the real her comes out in her character and it is startling in how real it feels and looks. Dirk Bogarde is very good as well, as are Jack Klugman, Aline McMahon and a sympathetic Gregory Phillips.

All in all, a good film with a significantly greater lead performance. 7/10 Bethany Cox

Though she didn't and couldn't have known it, I Could Go On Singing became Judy Garland's farewell to the big screen. In this role she's perfectly cast in a role that bears a lot of resemblance to the real Judy Garland, a famous singer with problems of custody who wants the son she gave up for adoption years ago.

Some twenty years before young medical student Dirk Bogarde, studying in America fell in love with singer Judy Garland just starting her career. That career is something she wanted more than him. But one thing couldn't be changed and that was the boy child Bogarde left with her.

Bogarde marries a girl from Great Britain and later on Judy who can't manage a baby and a career gives him up to Bogarde who adopts his own son with his wife and raises him. Now his wife is dead and Judy's back to lay a claim on her son played by Gregory Phillips.

Of course Bogarde has never told his son about his origin and therein lies the story. It's the kind of tale we've seen in hundreds of films and radio and television soap operas.

But of course what makes I Could Go On Singing special is the singing of Judy Garland. Giving this film which title could serve as her epitaph is Harold Arlen and E.Y. Harburg who wrote the title song and who wrote her famous Over The Rainbow.

Judy also sings By Myself which was sung and danced to by Fred Astaire in The Bandwagon. But a song I'm really glad she did was the Kurt Weill-Maxwell Anderson song It Never Was You. That song comes from the score of Knickerbocker Holiday and it didn't make the screen version. I'm glad that Judy Garland used it in this film, giving it the classiest interpretation possible.

A passable enough drama, but great singing and the best epitaph possible for a career which was one of the brightest.