Her magic: listen to her Carnegie Hall album in the dark for that. Clarke’s closing image, outside the funeral home, does not evoke unity with the bystanders there so much asĪ disconnection from Garland and her messy life.Īn unstoppable read that demystifies Garland yet still details her international appeal. Will likely result in a deeper appreciation of Garland’s career), its immediate effect is to deaden the shock of her death by drug But while the meticulous reporting impresses (and Pawn or sad pill popper, Clarke separates Judy the person from Judy the icon. By portraying Garland as a multifaceted individual rather than MGM Grooming her daughter for stardom yet denying her love. (discovered in a homosexual embrace at their home), Sid Luft, and Mickey Deans.
Her husbands also abounded: Billy Rose (whose baby Judy reluctantly aborted), Vincente Minnelli By her 20s, though, she was already dependent on pills, had attempted suicide, was treated for mental exhaustion,Īnd had searched for the right man through affairs with Tyrone Power, Joseph Mankiewicz, Orson Welles, and Yulīrynner-among others. As a female vocalist, her inimitable blend of vulnerability and longing ("like a womanĬarrying a torch for Valentino," said George Jessel) culminated in history-making performances at the London Palladium andĬarnegie Hall. Louis, and the Andy Hardy series) and became As Judy Garland (a name she, not the studio, chose), sheĭazzled in her early movies (including The Wizard of Oz, Meet Me in St. A corker of a biography that reveals Judy Garland as a peerless artist careening wildly through a life that could have endedīiographer Clarke (Capote, 1988) notes Frances Ethel ("Baby") Gumm's early rise, moving steadily from a boffo solo onĪ vaudeville stage at two years old to an MGM contract a decade later.
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