Karry Best movie of this year hands down!

Lawbolisted Powerful

Smartorhypo Highly Overrated But Still Good

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Scott Amundsen Critical opinion of I COULD GO ON SINGING seems to be a consensus that it represents a sad finale to her career, but I do not see it that way at all. Because while the plot is old hat and could have been lifted right out of a cheap soap opera, the considerable talents of the cast, with Garland still in peak form leading the way, make this film greater than the sum of its parts.Garland is Jenny Bowman, a singer whose career has always come first. Fifteen years previously, she had an affair with then-medical-student and now successful doctor David Donne (Dirk Bogarde), an affair which produced a son. Jenny, forced perhaps into a choice (it isn't quite clear in the somewhat muddled script), leaves the boy with his father, who marries another woman with whom he raises the boy, Matt (Gregory Phillips). Matt grows up believing his father's wife to be his mother; again, the reason for all these lies seems unclear.Anyway, perhaps inevitably, after the death of David's wife, Jenny shows up in London while on a concert tour and proceeds to try to insinuate herself into her son's life. Since the kid, like most upper-middle-class English children were in those days, is in boarding school, it is easier for Jenny to go behind David's back in her quest for the affections of the boy.In the end, the plot is almost negligible, though I do feel that the David character is a bit too much of a bastard for my taste; Jenny is clearly a self-centered woman but she isn't unreasonable or without human feelings. At times David is such a cold fish one wonders what she ever saw in him.No, what matters in the end is Garland's performance. And what a performance it is! Jenny Bowman as written appears to have been based at least loosely on Judy, and she does not spare herself: despite her prodigious talent, this woman is not a hero; she is just an ordinary person in many ways, with an extraordinary talent that sometimes brings out the worst in her.I COULD GO ON SINGING and A STAR IS BORN are probably the only two films Garland ever made in which the lead character was pure Judy. No doubt A STAR IS BORN is the superior film, but this one is hardly the disappointment the critics of the day seemed to think it was, and especially when Garland is onstage, a bit overweight but the voice still intact, the magic is still there and quite irresistible.

blanche-2 1963's "I Could Go On Singing" would prove to be Judy Garland's final film, and what a shame.Here, Garland plays Jenny Bowman, a famous performer who comes to London with a manager (Jack Klugman) and an assistant (Aline McMahon) to do concerts and goes to see an ex-beau, Dr. David Donne (Dirk Bogarde) with a faux medical problem. He knows she has an ulterior motive. The two of them had broken up, but later, Jenny gave birth to their son. The newlywed David and his wife adopted the child because Jenny couldn't really handle carrying for a new baby and having a career. Matt never knew and believed that both David and his wife were his adopted parents. Jenny claims that now that David's wife is dead, she just wants to see her son (Gregory Phillips). Once she sees him, she wants to spend time with him - it spirals out of control.Despite its soapy plot, "I Could Go ON Singing" manages to be very effective for two reasons: Judy Garland and Dirk Bogarde, both of whom lift this film up from the maudlin. Bogarde is an uncredited writer on this film, contributing a lot of Garland's dialogue, as the script needed work before she could take the role; he often participated in screen writing on his films.Garland plays her role as a brilliant talent who is a needy woman, but one who also is used to getting her way and knows what she wants. Despite an outer fragility, she knows how to stand up for herself. As an entertainer, she is second to none - magical, warm, exciting, passionate, and fun. Garland sings the title song plus "By Myself," "It Never Was You", and "Hello, Blue Bird," all beautifully performed. Garland looks petite and wonderful as well.During the scene in the hospital, in which David comes to see Jenny after she sprains her actor, the director, Ronald Neame, realized as the camera was rolling that the scene had passed out of the movie and into real life. Garland was no longer Jenny but Garland. There was an incredibly intense atmosphere in the room, so instead of yelling cut, doing another take, and repositioning the camera, he let the scene go on. Normally a scene like that would take all day to film. Bogarde realized that Neame wasn't going to stop and even altered his dialogue to respond to her. The result is an incredibly moving, very personal scene.Bogarde gives a low-key performance and is perfect opposite Garland, very British, attempting to keep his emotions even -- a very generous actor who was also helpful to Neame in keeping Garland going. There were a great many difficulties on the set, including an incident where a plate of food went flying through the air as Judy demanded director Henry Hathaway. In the end, they all made it through, and the result is successful.We have lots of examples on the screen and in recording of Judy Garland's tremendous talent and brilliance. "I Could Go On Singing" is a look at a character very close to Garland and gives a good sense of the real woman. Art imitates life, or did life imitate art - with Garland, one never knows.

rosyrnrn "I must keep on singing...with my heart on the wings of a song..." She sings these words at the end of the movie after life lets her down and 'the show must go on' anyway. This IS Judy Garland, with the ups and downs of life in and out of this movie. Although age begins to show on her face, her voice is still right on key with depth and tone, her expressions effortless and natural, and we feel her mood with empathy. Just watch and see. This is the life of a singer who has an affair with a man in London. She chooses not to marry the man, nor keep the young baby boy, so the man raises him in England. Judy's character goes on with her singing career, then later travels to London for a performance. She finds both her former lover and young teen son. Both Judy and the boy develop a natural motherly/son affection and the movie takes us on a bumpy ride thereafter since the father has much difficulty accepting this. Judy cannot and does not disappoint! I miss her.

edwagreen Judy Garland turned in still another phenomenal performance in 1963's "I Could Go On Singing."As a singer touring England, Garland lets out the secret that she is the mother of Dirk Bogarde's son. Bogarde had passed the boy off as his adopted son so as not to humiliate his wife. The problem is that the latter is now dead and Garland is ready to fulfill her motherly role. Or, is she?Garland emits the same emotion that she did as Vickie Lester in 1954's "A Star is Born." While Bogarde is good as her former boy friend, could you imagine what James Mason could have done for this part? Imagine re-teaming Mason and Garland in a motion picture.There is a surprising nice small supporting performance by Jack Klugman as Garland's manager. He warns her that she might have to go to court against Bogarde to prove that she is the mother of his child. What would that do to her career?While all this is going on, Garland fabulously belts out "I'll Go My Way By Myself," as well as the title song.It is amazing to me that in a very weak best actress category of 1963, that Garland was not nominated for best actress here.