MARGARET HAMILTON & JUDY GARLAND THE WIZARD OF OZ 4x6\" HAND COLOR TINTED PHOTO
![MARGARET HAMILTON & JUDY GARLAND THE WIZARD OF OZ 4x6\](img-large/g/hMAAAMXQ3kRQ85x0/s-l1600/MARGARET-HAMILTON-JUDY-GARLAND-THE-WIZARD-OF-OZ-4x.jpg "MARGARET HAMILTON & JUDY GARLAND THE WIZARD OF OZ 4x6\")
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MARGARET HAMILTON & JUDY GARLAND THE WIZARD OF OZ 4x6\" HAND COLOR TINTED PHOTO:
$8.00
Up for sale is an awesome4 x 6\" full color photo print of a hand oil tinted photograph featuring actresses, Margaret Hamilton & Judy Garland in the 1939 movie, The Wizard of Oz.
his is a high-resolution (320 dpi/ 1,280 x 1,920 pixel) 4\" x 6\" vintage images,hand oil tinted and photo processed onto Fuji Film Archival Photo Paper.Fuji Film Archival Photo Paper is the highest quality paper and photo processing available. Fujiguaranteesit not to fade for up to 70 years!
Margaret Hamilton & Judy Garland, The Wizard of Oz 1939
Margaret Hamilton (December 9, 1902 – May 16, 1985) was an American film actress known for her portrayal of the Wicked Witch of the West in the 1939 film The Wizard of Oz. A former schoolteacher, she worked as a character actor in films for seven years before she was offered the role that defined her public image.
In later years, Hamilton made frequent cameo appearances on television sitcoms and commercials. She also gained recognition for her work as an advocate of causes designed to benefit children and animals, and retained a lifelong commitment to public education.
Early life
Hamilton was born to Walter J. Hamilton and his wife, Jennie (Adams), in Cleveland, Ohio. She later attended Hathaway Brown School in Shaker Heights, Ohio. Drawn to the theater at an early age, Hamilton made her stage debut in 1923. Hamilton also practiced her craft doing children\'s theater while she was a Junior League of Cleveland member. She later moved to Painesville, Ohio.
Before she turned to acting exclusively, Hamilton attended Wheelock College in Boston and then became a kindergarten teacher. Over the years, her students included future actors William Windom and Jim Backus.
Film career
Hamilton\'s unlikely career as a film actress was driven by the very qualities that placed her in stark contrast to the stereotypical Hollywood glamour girl. Her image was that of a New England spinster, extremely pragmatic and impatient with all manner of \"tomfoolery\". Hamilton\'s plain looks helped to bring steady work as a character actor. She made her screen debut in 1933 in Another Language. Hamilton went on to appear in These Three (1936), Saratoga, You Only Live Once, Nothing Sacred (all 1937), The Adventures of Tom Sawyer (1938), and My Little Chickadee (1940). She strove to work as much as possible to support herself and her son; she never put herself under contract to any one studio and priced her services at $1000 a week.
Hamilton co-starred opposite Buster Keaton and Richard Cromwell, in a 1940s spoof of the long-running local melodrama The Drunkard entitled The Villain Still Pursued Her. Later in the decade, she was in a now-forgotten film noir from one of the \"poverty row\" studios, entitled Bungalow 13 (1948), in which she again co-starred opposite Cromwell, although that film did nothing for either of their careers.
Hamilton\'s crisp voice with rapid but clear enunciation was another trademark. She appeared regularly in supporting roles in films until the early 1950s, and sporadically thereafter. She made an uncredited nearly 10-minute performance in Joseph L. Mankiewicz\'s People Will Talk from 1951 playing the part of Sarah Pickett opposite Hume Cronyn\'s Dr. Elwell.
In 1960, producer/director William Castle cast Hamilton as the maid in his 13 Ghosts spookfest. Throughout the film she plays straight face to 12-year-old lead Charles Herbert\'s barbs about her being a witch, including one scene with broom in hand.
\"The Wicked Witch of the West\": The Wizard of Oz
In 1939, Hamilton played the role of the Wicked Witch of the West, opposite Judy Garland\'s Dorothy Gale in The Wizard of Oz, creating not only her most famous role, but also one of the screen\'s most memorable villains. Hamilton was chosen when the more traditionally attractive Gale Sondergaard refused to wear makeup designed to make her appear ugly.
Hamilton suffered a second degree burn on her face and a third degree burn on her hand during a second take of her fiery exit from Munchkinland, in which the trap door\'s drop was delayed to eliminate the brief glimpse of it seen in the final edit. Hamilton had to recuperate in a hospital and at home for six weeks after the accident before returning to the set to complete her work on the now-classic film, and refused to have anything to do with fire for the rest of the filming. Judy Garland had visited her while Hamilton recuperated at home.
Studio executives cut some of Margaret\'s most wicked scenes, worrying that they would frighten children. Whatever ill will she may have felt toward the role quickly disintegrated; later on in life she would comment on the role of the witch in a light-hearted fashion. For an interview, she joked:
\"I was in a need of money at the time, I had done about six pictures for MGM at the time and my agent called. I said, \'Yes?\' and he said \'Maggie, they want you to play a part on the Wizard.\' I said to myself, \'Oh Boy, The Wizard of Oz! That has been my favorite book since I was four.\' And I asked him what part, and he said \'The Witch\' and I said \'The Witch?!\' and he said \'What else?\'\" (Hamilton presented this as the punchline to the joke.)
Hamilton was often asked about her experiences on the set of The Wizard of Oz. Hamilton said she sometimes worried about the effect that her monstrous film role had on children. In real life, Hamilton deeply loved children and gave to charitable organizations benefiting them. She often remarked about children coming up to her and asking her why she had been so mean to poor Dorothy. She appeared on an episode of Mister Rogers\' Neighborhood, where she explained to children that she was only playing a role and showed how make-up transformed her into the witch. She also made personal appearances, and Hamilton described the usual reaction:
\"Almost always they want me to laugh like the Witch. And sometimes when I go to schools, if we\'re in an auditorium, I\'ll do it. And there\'s always a funny reaction, like Ye gods, they wish they hadn\'t asked. They\'re scared. They\'re really scared for a second. Even adolescents. I guess for a minute they get the feeling they got when they watched the picture. They like to hear it but they don\'t like to hear it. And then they go, \'Ohhhhhhhhhh.\'... The picture made a terrible impression of some kind on them, sometimes a ghastly impression, but most of them got over it, I guess... Because when I talk like the Witch and when I laugh, there is a hesitation, and then they clap. They\'re clapping at hearing the sound again.\" Hamilton arguably played three roles in the famous film: Almira Gulch, The Wicked Witch of the West, and The Wicked Witch of the East - the latter role being a cameo appearance outside Dorothy\'s window during the tornado scene just before the house crashes to the ground. Only co-star Frank Morgan played more roles in the film (5). However, Hamilton and Morgan never appeared on screen together.
Robert Altman\'s Brewster McCloud, a film about flying, pays homage to Hamilton\'s Wicked Witch character: in the film, Hamilton plays a wealthy woman who is crushed by a large birdhouse. As the camera pans down her body, you see that on her feet are the ruby slippers.
Radio and television career
In the 1940s and 1950s, Hamilton had a long-running role on the radio series Ethel and Albert (aka \"The Couple Next Door\") in which she played the lovable, scattered Aunt Eva (name later changed to Aunt Effie). During the 1960s and 1970s, Hamilton appeared regularly on television. She did a stint as one of the What\'s My Line? Mystery Guests on the popular Sunday Night CBS-TV program. She reprised the image of Elmira Gulch from The Wizard of Oz for her role as Morticia Addams\' mother Hester (Granny) Frump in The Addams Family.(She was offered the role of Grandmama but turned it down.)
During the 1960s she was a regular on the CBS soap opera, The Secret Storm, playing the role of Grace Tyrell\'s (Marjorie Gateson) beloved housekeeper, \"Katie.\" In the early 1970s, she joined the cast of another CBS soap, As the World Turns, playing \"Miss Peterson,\" affectionately called \"Pete\" by her millionaire boss, \"Simon Gilbey\" (Jerry Lacy.) She had a small role in the made-for-TV film The Night Strangler (1973) and appeared as a befuddled neighbor on Sigmund and the Sea Monsters. In the 1976 Paul Lynde Halloween Special, she portrayed Paul\'s housekeeper of 15 years and reprised her role as the Wicked Witch of the West, as well as introducing Paul to the rock group KISS. She would reprise her role as the Wicked Witch of the West in an episode of Sesame Street, but after complaints from parents of terrified children, it hasn\'t been seen since 1976.
She also appeared as herself in an episode of Mister Rogers\' Neighborhood and continued acting regularly until 1982. Her last role was a guest appearance as a veteran journalist on an episode of Lou Grant.
Throughout the 1970s, Hamilton lived in New York City\'s Gramercy Park neighborhood and appeared on local (and some national) public service announcements (PSAs) for organizations promoting the welfare of pets. Her most visible appearances during this period were as general store owner Cora, in a national series of television commercials for Maxwell House coffee (\"I think it tastes best.\").
Personal life
Hamilton married Paul Boynton Meserve on June 13, 1931, and made her debut on the New York stage the following year. While her acting career developed, her marriage became troubled, and the couple divorced in 1938. She would not marry again. They had one son, Hamilton Wadsworth Meserve (born 1936), whom she raised on her own. She in turn had three grandchildren: Christopher, Scott, and Margaret.
Later years
Hamilton\'s early experience as a teacher fueled a lifelong interest in educational issues. Hamilton served on the Beverly Hills Board of Education between 1948 to 1951, long after her success in films. She also taught Sunday school in the 1950s.
She lived in New York City for most of her adult life. Her Gramercy Park apartment building also boasted James Cagney and Jonathan Frid as tenants. She later moved to Millbrook, NY. Hamilton died in her sleep following a heart attack on May 16, 1985, in Salisbury, Connecticut, at the age of 82. She was cremated at Poughkeepsie Rural Cemetery and her ashes were scattered on Cape Island, Maine.
Judy Garland (June 10, 1922 - June 22, 1969) was an American actress and singer. Through a career that spanned 45 of her 47 years, Garland attained international stardom as an actress in musical and dramatic roles, as a recording artist, and on the concert stage. Respected for her versatility, she received a Juvenile Academy Award, won a Golden Globe Award, received the Cecil B. DeMille Award for her work in films, as well as Grammy Awards and a Special Tony Award. She had a contralto singing range.
After appearing in vaudeville with her sisters, Garland was signed to Metro-Goldwyn-Mayer as a teenager. There she made more than two dozen films, including nine with Mickey Rooney, and the film with which she would be most identified, The Wizard of Oz (1939). After 15 years, Garland was released from the studio but gained renewed success through record-breaking concert appearances, including a critically acclaimed Carnegie Hall concert, a well-regarded but short-lived television series, and a return to film acting beginning with A Star Is Born (1954).
Despite her professional triumphs, Garland battled personal problems throughout her life. Insecure about her appearance, her feelings were compounded by film executives who told her she was unattractive and overweight. Plied with drugs to control her weight and increase her productivity, Garland endured a decades-long struggle with addiction. Garland was plagued by financial instability, often owing hundreds of thousands of dollars in back taxes, and her first four of five marriages ended in divorce. She attempted suicide on a number of occasions. Garland died of an accidental drug overdose at the age of 47, leaving children Liza Minnelli, Lorna Luft, and Joey Luft.
In 1997, Garland was posthumously awarded a Grammy Lifetime Achievement Award. Several of her recordings have been inducted into the Grammy Hall of Fame. In 1999, the American Film Institute placed her among the ten greatest female stars in the history of American cinema (at number eight).
Life and career
Childhood and early life
Born Frances Ethel Gumm in Grand Rapids, Minnesota, Judy Garland was the youngest child of Francis Avent \"Frank\" Gumm (March 20, 1886- November 17, 1935) and Ethel Marion Milne (November 17, 1893-January 5, 1953). Garland\'s parents were vaudevillians who settled in Grand Rapids to run a movie theatre that featured vaudeville acts.
Garland\'s ancestry on both sides of her family can be traced back to the early colonial days of the United States. Her father was descended from the Marable family of Virginia, and her mother from Patrick Fitzpatrick, who emigrated to America in the 1770s from Smithtown, County Meath, Ireland.
Named after both her parents and baptized at a local Episcopal church, \"Baby\" (as Frances was called by her parents and sisters) shared her family\'s flair for song and dance. Baby Gumm\'s first appearance came at the age of two-and-a-half when she joined her two older sisters, Mary Jane \"Suzy\" Gumm (1915-64) and Dorothy Virginia \"Jimmie\" Gumm (1917-77), on the stage of her father\'s movie theater during a Christmas show and sang a chorus of \"Jingle Bells.\" Accompanied by their mother on piano, The Gumm Sisters performed at their father\'s theater for the next few years. Following rumors that Frank Gumm had made sexual advances toward male ushers at his theater, the family relocated to Lancaster, California, in June 1926. Frank purchased and operated another theater in Lancaster, and Ethel, acting as their manager, began working to get her daughters into motion pictures.
The Gumm Sisters
In 1928, The Gumm Sisters enrolled in a dance school run by Ethel Meglin, proprietress of the Meglin Kiddies dance troupe. The sisters appeared with the troupe at its annual Christmas show. It was through the Meglin Kiddies that Garland and her sisters made their film debut, in a 1929 short subject called The Big Revue. This was followed by appearances in two Vitaphone shorts the following year, A Holiday in Storyland (featuring Garland\'s first on-screen solo) and The Wedding of Jack and Jill. They next appeared together in Bubbles. The final on-screen appearance of The Gumm Sisters came in 1935, in another short entitled La Fiesta de Santa Barbara.
In 1934, the sisters, who by then had been touring the vaudeville circuit as \"The Gumm Sisters\" for many years, performed in Chicago at the Oriental Theater with George Jessel. He encouraged the group to choose a more appealing name after the name \"Gumm\" was met with laughter from the audience. \"The Garland Sisters\" was chosen, and Frances changed her name to \"Judy\" soon after, inspired by a popular Hoagy Carmichael song.
Several stories persist regarding the origin of the name \"Garland\". One is that it was originated by Jessel after Carole Lombard\'s character Lily Garland in the film Twentieth Century which was then playing at the Oriental; another is that the trio chose the surname after drama critic Robert Garland. Garland\'s daughter Lorna Luft stated that her mother selected the name when Jessel announced that the trio of singers \"looked prettier than a garland of flowers\". Another variation surfaced when Jessel was a guest on Garland\'s television show in 1963. He claimed that he had sent actress Judith Anderson a telegram containing the word \"garland,\" and it stuck in his mind.
At any rate, by late 1934 the \"Gumm Sisters\" had changed their name to the \"Garland Sisters.\" The trio was broken up in August 1935, however, when Suzanne Garland flew to Reno, Nevada, and married musician Lee Kahn, a member of the Jimmy Davis orchestra playing at Cal-Neva Lodge, Lake Tahoe.
Signed at MGM
In 1935, Garland was signed to a contract with Metro-Goldwyn-Mayer, supposedly without a screen test, though she had made a test for the studio several months earlier. The studio did not know what to do with Garland, as at age 13 she was older than the traditional child star but too young for adult roles. Garland\'s physical appearance created a dilemma for MGM. At only 4 feet 11.5 inches (151.1 cm), Garland\'s \"cute\" or \"girl next door\" looks did not exemplify the more glamorous persona required of leading ladies of the time. She was self-conscious and anxious about her appearance. \"Judy went to school at Metro with Ava Gardner, Lana Turner, Elizabeth Taylor, real beauties,\" said Charles Walters, who directed Garland in a number of films. \"Judy was the big money-maker at the time, a big success, but she was the ugly duckling ... I think it had a very damaging effect on her emotionally for a long time. I think it lasted forever, really.\" Her insecurity was exacerbated by the attitude of studio chief Louis B. Mayer, who referred to her as his \"little hunchback\". During her early years at the studio, she was photographed and dressed in plain garments or frilly juvenile gowns and costumes to match the \"girl-next-door\" image that was created for her. She was made to wear removable caps on her teeth and rubberized disks to reshape her nose. She performed at various studio functions and was eventually cast opposite Deanna Durbin in the musical short Every Sunday. The film served as an extended screen test for the pair, as studio executives were questioning the wisdom of having two girl singers on the roster. Mayer finally decided to keep both girls, but by that time Durbin\'s option had lapsed and she was signed by Universal Studios.
On November 16, 1935, in the midst of preparing for a radio performance on the Shell Chateau Hour, Garland learned that her father who had been hospitalized with meningitis had taken a turn for the worse. Frank Gumm died the following morning, on November 17. Garland\'s song for the Shell Chateau Hour was her first professional rendition of \"Zing! Went the Strings of My Heart\", a song which would become a standard in many of her concerts.
Garland next came to the attention of studio executives by singing a special arrangement of \"You Made Me Love You\" to Clark Gable at a birthday party held by the studio for the actor; her rendition was so well regarded that Garland performed the song in the all-star extravaganza Broadway Melody of 1938 (1937), in which she sang the song to a photograph of Gable.
MGM hit on a winning formula when it paired Garland with Mickey Rooney in a string of \"backyard musicals\". The duo first appeared together in the 1937 B movie Thoroughbreds Don\'t Cry. They became a sensation, and teamed up again in Love Finds Andy Hardy. Garland would eventually star with Rooney in nine films.
To keep up with the frantic pace of making one film after another, Garland, Rooney, and other young performers were constantly given amphetamines, as well as barbiturates to take before bed. For Garland, this regular dose of drugs led to addiction and a lifelong struggle, and contributed to her eventual demise. She later resented the hectic schedule and felt that her youth had been stolen from her by MGM. Despite successful film and recording careers, several awards, critical praise, and her ability to fill concert halls worldwide, Garland was plagued throughout her life with self-doubt and required constant reassurance that she was talented and attractive. Oscar Levant later remarked that \"at parties, Judy could sing all night, endlessly... but when it came time to appear on a movie set, she just wouldn\'t show up.\"
The Wizard of Oz
Garland soon landed the lead role of Dorothy Gale in The Wizard of Oz (1939) at the age of 16, in which she introduced the song with which she would forever be identified, \"Over the Rainbow\". Although producers Arthur Freed and Mervyn LeRoy had wanted Garland from the start, studio chief Mayer tried first to borrow Shirley Temple from 20th Century Fox. Temple\'s services were denied and Garland was cast. Garland was initially outfitted in a blond wig for the part, but Freed and LeRoy decided against it shortly into filming. Her breasts were bound with tape and she was made to wear a special corset to flatten out her curves and make her appear younger; her blue gingham dress was also chosen for its blurring effect on her figure.
Shooting commenced on October 13, 1938, and was completed on March 16, 1939, with a final cost of more than $2 million. From the conclusion of filming, MGM kept Garland busy with promotional tours and the shooting of Babes in Arms. Garland and Mickey Rooney were sent on a cross-country promotional tour, culminating in the August 17 New York City premiere at the Capitol Theatre, which included a five-show-a-day appearance schedule for the two stars.
On November 17, 1939, Garland\'s mother, Ethel, married William P. Gillmore in Yuma, Arizona.
The Wizard of Oz was a tremendous critical success, though its high budget and promotions costs of an estimated $4 million coupled with the lower revenue generated by children\'s tickets, meant that the film did not make a profit until it was rereleased in the 1940s. At the 1940 Academy Awards ceremony, Garland received an Academy Juvenile Award for her performances in 1939, including The Wizard of Oz and Babes in Arms. Following this recognition, Garland became one of MGM\'s most bankable stars.
Adult stardom
In 1940, she starred in three films: Andy Hardy Meets Debutante, Strike Up the Band, and Little Nellie Kelly. In the latter film, Garland played her first adult role, a dual role of both mother and daughter. Little Nellie Kelly was purchased from George M. Cohan as a vehicle for Garland to assess both her audience appeal and her physical appearance. The role was a challenge for her, requiring the use of an accent, her first adult kiss, and the only death scene of her career. The success of these three films, and a further three films in 1941, secured her position at MGM as a major property.
During this time Garland experienced her first serious adult romances. The first was with the band leader Artie Shaw. Garland was deeply devoted to Shaw and was devastated in early 1940 when Shaw eloped with Lana Turner. Garland began a relationship with musician David Rose, and on her 18th birthday, Rose gave her an engagement ring. The studio intervened because Rose was still married at the time to the actress and singer Martha Raye. The couple agreed to wait a year to allow for Rose\'s divorce from Raye to become final, and were wed on July 27, 1941. She was noticeably thinner in her next film, For Me and My Gal, alongside Gene Kelly in his first screen appearance. Garland was top billed over the credits for the first time, and effectively made the transition from teenage star to adult actress.
At the age of 21, she was given the \"glamour treatment\" in Presenting Lily Mars, in which she was dressed in \"grown-up\" gowns. Her lightened hair was also pulled up in a stylish fashion. However, no matter how glamorous or beautiful she appeared on screen or in photographs, she was never confident in her appearance and never escaped the \"girl next door\" image that had been created for her. Adding to her insecurity was the dissolution of her marriage to David Rose. Garland, who had aborted her pregnancy by Rose in 1942, agreed to a trial separation in January 1943, and they divorced in 1944.
One of Garland\'s most successful films for MGM was Meet Me in St. Louis (1944), in which she introduced three standards: \"The Trolley Song\", \"The Boy Next Door\", and \"Have Yourself a Merry Little Christmas.\" Vincente Minnelli was assigned to direct this movie, and he requested that make-up artist Dorothy Ponedel be assigned to Garland for the picture. Ponedel refined Garland\'s appearance in several ways, including extending and reshaping her eyebrows, changing her hairline, modifying her lip line, and removing her nose discs. Garland appreciated the results so much that Ponedel was written into her contract for all her remaining pictures at MGM. During the filming of Meet Me in St. Louis, after some initial conflict between them, Garland and Minnelli entered a relationship together. They were married June 15, 1945, and on March 12, 1946, daughter Liza Minnelli was born.
The Clock (1945) was her first straight dramatic film, opposite Robert Walker. Though the film was critically praised and earned a profit, most movie fans expected her to sing. It would be many years before she acted again in a non-singing dramatic role.
Garland\'s other famous films of the 1940s include The Harvey Girls (1946), in which she introduced the Academy Award-winning song \"On the Atchison, Topeka and the Santa Fe\", and The Pirate (1948).
Leaving MGM
During filming for The Pirate in April 1947, Garland suffered a nervous breakdown and was placed in a private sanitarium. She was able to complete filming, but in July of that year she made her first suicide attempt, making minor cuts to her wrist with a broken glass. Following her work on The Pirate, Garland completed three more films for MGM: Easter Parade (in which she danced a number of dances with Fred Astaire), In the Good Old Summertime, and her final film with MGM, Summer Stock.
Garland was unable to complete a series of films. During the filming of The Barkleys of Broadway, Garland was taking prescription sleeping medication along with illicitly obtained pills containing morphine. These, in combination with migraine headaches, led Garland to miss several shooting days in a row. After being advised by Garland\'s doctor that she would only be able to work in four- to five-day increments with extended rest periods between, MGM executive Arthur Freed made the decision to suspend Garland on July 18, 1948. She was replaced by Ginger Rogers.
Garland was cast in the film adaptation of Annie Get Your Gun in the title role of Annie Oakley. She was nervous at the prospect of taking on a role strongly identified with Ethel Merman, anxious about appearing in an unglamourous part after breaking from juvenile parts for several years, and disturbed by her treatment at the hands of director Busby Berkeley. She began arriving late to the set, and sometimes failed to appear. She was suspended from the picture on May 10, 1949, and was replaced by Betty Hutton. Garland was next cast in the film Royal Wedding when June Allyson became pregnant in 1950. She again failed to report to the set on multiple occasions, and the studio suspended her contract on June 17, 1950, replacing her with Jane Powell. Reputable biographies following Garland\'s death stated that after this latest dismissal, she slightly grazed her neck with a broken water glass, requiring only a Band-Aid, but at the time, the public was informed that a despondent Garland had slashed her throat. \"All I could see ahead was more confusion,\" Garland later said of this suicide attempt. \"I wanted to black out the future as well as the past. I wanted to hurt myself and everyone who had hurt me.\"
Renewed stardom on the stage
In 1951, Garland divorced Vincente Minnelli. She engaged Sid Luft as her manager the same year. Luft arranged a four-month concert tour of the United Kingdom, where she played to sold-out audiences throughout England, Scotland, and Ireland. The tour included Garland\'s first appearances at the renowned London Palladium, for a four-week stand in April. Although the British press chided her before her opening for being \"too plump\", she received rave reviews and the ovation was described by the Palladium manager as the loudest he had ever heard.
In October 1951, Garland opened in a vaudeville-style, two-a-day engagement at Broadway\'s newly-refurbished Palace Theatre. Her 19-week engagement exceeded all previous records for the theater, and was described as \"one of the greatest personal triumphs in show business history\". Garland was honored for her contribution to the revival of vaudeville with a Special Tony Award.
Garland and Luft were married on June 8, 1952, in Hollister, California, and Garland gave birth to the couple\'s first child, Lorna, on November 21 that year.
Garland\'s personal and professional achievements during this time were marred by the actions of her mother, Ethel. In May 1952, at the height of Garland\'s comeback, Ethel was featured in a Los Angeles Mirror story in which she revealed that while Garland was making a small fortune at the Palace, Ethel was working a desk job at Douglas Aircraft Company for $61 a week. Garland and Ethel had been estranged for years, with Garland characterizing her mother as \"no good for anything except to create chaos and fear\" and accusing her of mismanaging and misappropriating Garland\'s salary from the earliest days of her career. Garland\'s sister Virginia denied this, stating \"Mama never took a dime from Judy.\" On January 5, 1953, Ethel was found dead in the Douglas Aircraft parking lot.
A Star Is Born
In 1954, Garland filmed a musical remake of A Star is Born for Warner Bros. Luft and Garland, through their production company Transcona Enterprises, produced the film while Warner Bros. supplied the funds, production facilities, and crew. Directed by George Cukor and co-starring James Mason, it was a large undertaking to which Garland initially fully dedicated herself. As shooting progressed, however, she began making the same pleas of illness which she had so often made during her final films at MGM. Production delays led to cost overruns and angry confrontations with Warner Bros. head Jack Warner. Principal photography wrapped on March 17, 1954. At Luft\'s suggestion, the \"Born in a Trunk\" medley was filmed as a showcase for Garland and inserted over director Cukor\'s objections, who feared the additional length would lead to cuts in other areas. The \"Born in a Trunk\" sequence was completed on July 29.
Upon its September 29 world premiere, the film was met with tremendous critical and popular acclaim. Before release it was edited at the instruction of Jack Warner; theater operators, concerned that they were losing money because they were only able to run the film for three or four shows per day instead of five or six, pressured the studio to make additional reductions. About 30 minutes of footage was cut, sparking outrage among critics and filmgoers. A Star is Born ended up losing money, and the secure financial position Garland had expected from the profits did not materialize. Transcona made no more films with Warner.
Garland was nominated for the Academy Award for Best Actress and, in the run-up to the 27th Academy Awards, was expected to be the likely winner by both the public and critics. She could not attend the ceremony because she had just given birth to her son, Joseph Luft, so a television crew was in Garland\'s hospital room with cameras and wires to televise Garland\'s anticipated acceptance speech. The Oscar was won, however, by Grace Kelly for The Country Girl (1954). The camera crew was packing up before Kelly could even reach the stage. Garland even made jokes about the incident, on her television series, saying \"...and nobody said good-bye.\" Groucho Marx sent Garland a telegram after the awards ceremony, declaring her loss \"the biggest robbery since Brinks\". To this day, it is still considered to be one of the biggest upsets in the history of the Academy Awards. Garland won the Golden Globe Award for Best Actress in a Musical for the role.
Garland\'s films after A Star Is Born included Judgment at Nuremberg (1961) (for which she was Oscar- and Golden Globe-nominated for Best Supporting Actress), the animated feature Gay Purr-ee (1962), and A Child is Waiting (1963) with Burt Lancaster. Her final film, I Could Go On Singing (1963), co-starring Dirk Bogarde, mirrored her own life with its story of a world famous singing star. Garland\'s last screen performance of a song was the prophetic I Could Go on Singing at the end of the film.
Television, concerts, and Carnegie Hall
Beginning in 1955, Garland appeared in a number of television specials. The first, the 1955 debut episode of Ford Star Jubilee, was the first full-scale color broadcast ever on CBS and was a ratings triumph, scoring a 34.8 Nielsen rating. Garland signed a three-year, $300,000 contract with the network. Only one additional special, a live concert edition of General Electric Theater, was broadcast in 1956 before the relationship between the Lufts and CBS broke down in a dispute over the planned format of upcoming specials. In 1956, Garland performed four weeks at the New Frontier Hotel on the Las Vegas Strip for a salary of $55,000 per week, making her the highest-paid entertainer to work in Las Vegas. Despite a brief bout of laryngitis, her performances there were so successful that her run was extended an extra week. Later that year she returned to the Palace Theatre, site of her two-a-day triumph. She opened in September, once again to rave reviews and popular acclaim.
In November 1959 Garland was hospitalized, diagnosed with acute hepatitis. Over the next few weeks several quarts of fluid were drained from her body until, still weak, she was released from the hospital in January 1960. She was told by doctors that she likely had five years or less to live, and that even if she did survive she would be a semi-invalid and would never sing again. She initially felt \"greatly relieved\" at the diagnosis. \"The pressure was off me for the first time in my life.\" However, Garland successfully recovered over the next several months and, in August of that year, returned to the stage of the Palladium. She felt so warmly embraced by the British that she announced her intention to move permanently to England.
Her concert appearance at Carnegie Hall on April 23, 1961, was a considerable highlight, called by many \"the greatest night in show business history\". The two-record Judy at Carnegie Hall was certified gold, charting for 95 weeks on Billboard, including 13 weeks at number one. The album won five Grammy Awards including Album of the Year and Best Female Vocal of the Year. The album has never been out of print.
In 1961, Garland and CBS settled their contract disputes with the help of her new agent, Freddie Fields, and negotiated a new round of specials. The first, entitled The Judy Garland Show, aired in 1962 and featured guests Frank Sinatra and Dean Martin. Following this success, CBS made a $24 million offer to Garland for a weekly television series of her own, also to be called The Judy Garland Show, which was deemed at the time in the press to be \"the biggest talent deal in TV history\". Although Garland had said as early as 1955 that she would never do a weekly television series, in the early 1960s she was in a financially precarious situation. Garland was several hundred thousand dollars in debt to the Internal Revenue Service, having failed to pay taxes in 1951 and 1952, and the financial failure of A Star is Born meant that she received nothing from that investment. A successful run on television was intended to secure Garland\'s financial future.
Following a third special, Judy Garland and Her Guests Phil Silvers and Robert Goulet, Garland\'s weekly series debuted September 29, 1963. The Judy Garland Show was critically praised, but for a variety of reasons (including being placed in the time slot opposite Bonanza on NBC) the show lasted only one season and was cancelled in 1964 after 26 episodes. Despite its short run, the series was nominated for four Emmy Awards. The demise of the series was personally and financially devastating for Garland, who never fully recovered from its failure.
Final years
With the demise of her television series, Garland returned to the stage. Most notably, she performed at the London Palladium with her then 18-year-old daughter Liza Minnelli in November 1964. The concert, which was also filmed for British television network ITV, was one of Garland\'s final appearances at the venue. She made guest appearances on the The Ed Sullivan Show, The Tonight Show, The Hollywood Palace, and The Merv Griffin Show, guest-hosting an episode of the last one.
Garland sued Sid Luft for divorce in 1963, claiming \"cruelty\" as the grounds. She also asserted that Luft had repeatedly struck her while he was drinking and that he had attempted to take their children from her by force. She had filed for divorce more than once previously, including as early as 1956.
A 1964 tour of Australia was largely disastrous. Garland\'s first concert in Sydney, held in Sydney Stadium because no concert hall could accommodate the crowds who wanted to see her, went well and received positive reviews. Her second performance, in Melbourne, started an hour late. The crowd of 70,000, angered by her tardiness and believing Garland to be drunk booed and heckled her, and she fled the stage after just 45 minutes. She later characterized the Melbourne crowd as \"brutish\". A second concert in Sydney was uneventful but the Melbourne appearance garnered her significant bad press. Some of that bad press was deflected by the announcement of a near fatal episode of pleurisy, followed by Garland\'s fourth marriage to tour promoter Mark Herron. They announced that their marriage had taken place aboard a freighter off the coast of Hong Kong; however, Garland was not legally divorced from Luft at the time the ceremony was performed. Her divorce from Luft became final on May 19, 1965, but Herron and Garland did not legally marry until November 14.
In February 1967, Garland was cast as \"Helen Lawson\" in Valley of the Dolls for 20th Century Fox. The character of \"Neely O\'Hara\" in the book by Jacqueline Susann was rumored to have been based on Garland. The role of O\'Hara in the film was played by Patty Duke. During the filming, Garland missed rehearsals and was fired in April. She was replaced by Susan Hayward. Garland\'s prerecording of the song I\'ll Plant My Own Tree survives today, along with her wardrobe tests.
Returning to the stage, Garland made her last appearances at New York\'s Palace Theatre in July, a 16-show tour, performing with her children Lorna and Joey Luft. Garland wore a sequined pantsuit on stage for this tour, which was part of the original wardrobe for her character in Valley of the Dolls.
By early 1969, Garland\'s health had deteriorated. She performed in London at the Talk of the Town nightclub for a five-week run and made her last concert appearance in Copenhagen during March 1969. She married her final husband, Mickey Deans, in London on March 17, 1969, her divorce from Herron having been finalized on February 11 of that year.
On June 22, 1969, Garland was found dead by Deans in the bathroom of their rented Chelsea, London house. The coroner, Gavin Thursdon, stated at the inquest that the cause of death was \"an incautious self-overdosage\" of barbiturates; her blood contained the equivalent of ten 1.5-grain (97 mg) Seconal capsules. Thursdon stressed that the overdose had been unintentional and that there was no evidence to suggest she had committed suicide. Garland\'s autopsy showed that there was no inflammation of her stomach lining and no drug residue in her stomach, which indicated that the drug had been ingested over a long period of time, rather than in one dose. Her death certificate stated that her death had been \"accidental.\" Even so, a British specialist who had attended Garland said she had been living on borrowed time due to cirrhosis of the liver. Garland had turned 47 just 12 days prior to her death. Her Wizard of Oz co-star Ray Bolger commented at Garland\'s funeral, \"She just plain wore out.\" An estimated 20,000 people lined up for hours at the Frank E. Campbell Funeral Chapel to view her body. Garland was interred in Ferncliff Cemetery, in Hartsdale, New York.
Legacy
Judy Garland\'s legacy as a performer and a personality has endured long after her death. The American Film Institute named Garland eighth among the Greatest Female Stars of All Time. She has been the subject of over two dozen biographies since her death, including the well-received Me and My Shadows: A Family Memoir by her daughter, Lorna Luft. Luft\'s memoir was later adapted into the multiple award-winning television miniseries, Life with Judy Garland: Me and My Shadows, which won Emmy Awards for two actresses portraying Garland (Tammy Blanchard and Judy Davis). Garland was posthumously awarded the Grammy Lifetime Achievement Award in 1997. Several of her recordings have been inducted into the Grammy Hall of Fame. These include \"Over the Rainbow,\" which was ranked as the number one movie song of all time in the American Film Institute\'s \"100 Years...100 Songs\" list. Four more Garland songs are featured on the list: \"Have Yourself a Merry Little Christmas\" (#76), \"Get Happy\" (#61), \"The Trolley Song\" (#26), and \"The Man That Got Away\" (#11). Garland has twice been honored on U.S. postage stamps, in 1989 (as Dorothy) and again in 2006 (as Vicki Lester from A Star Is Born).
Gay icon
Of particular note is Garland\'s status as a gay icon. She always had a large base of fans in the gay community. Reasons often given for her standing, especially amongst gay men, are admiration of her ability as a performer, the way her personal struggles supposedly mirrored those of gay men in America during the height of her fame, and her value as a camp figure. A connection is frequently drawn between the timing of Garland\'s death and funeral in June 1969, and the Stonewall riots, the flash point of the modern Gay Liberation movement, which started that same day in the early morning hours of June 28. Coincidental or not, the proximity of Garland\'s death to Stonewall has become a part of LGBT history and lore.
Photograph is from the 1939 movie,The Wizard of Oz & was Hand Oil Tinted by artist Margaret A. RogersYou can\'t get this colorized version of this photo anywhere else!
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