Zellweger’s come back is a roar that does not shut others up but provokes them to sing along.
Rupert Goold has an excellent vision on how to treat a biography as sensitive as such. And he is extremely delicate in his procedure as well. Fortunately, it works only for Renee Zellweger’s powerful performance does all the heavy lifting. And when it comes for her to set back and relax, Goold takes charge by just cradling her with a warm, warm environment which tears up our eyes with its generosity. There are scenes so unique that would make you cry. Cry out that there is no way someone could make this up. It has to be real. Which is one of the best doses of realization that you can whip to your audience in a biography genre.
Last time, I saw that happen was in Damien Chazelle’s finest film First Man. There is this scene in the middle of the film, where Judy played by Renee Zellweger encounters her fans and asks for them to take her for dinner. This spirals out one of my favourite and possibly the best scene of the film. And I don’t know whether it is a metaphor to the storyline that she has been a part of since her career began at an early age or a mature take on the narration or just unawareness.
The film doesn’t shine the light on the higher nuanced theme as such and instead shoves other cliched fame and defamed aspects of the characters to the front of the stage. It is somewhat like putting two bitter pills in a beloved ice cream cone to lure a kid in. Either we know that those two pills are for our betterment or we just love that flavour, the makers are hitting a safe chord sung calculatively by Zellweger through her facial expression. At the end of the show, you’d have little to remember by and little to complain.