Judy Garland : Judy biographies (book)

Judy biographies (book)

Which are the better book biographies to read about her? :)

Re: Judy biographies (book)

Sadly, with a legend as complex as Garland, there are very few biographies
to recommend. Hers is a difficult life and genius to properly document.

That said, Gerold Frank's 1975 tome "Judy" is STILL (whether people wish
to admit it or not) the best bio on Garland. No other book before or
since has captured the soul, personality and humor of Garland, as well
as the era of her stardom with greater aplomb. Frank interviewed many,
many individuals and his gentle, yet evenhanded understanding of her
psychological difficulties remains unmatched. His insightful coverage of
her deep troubles at MGM are fascinating to read (especially the last
four years).

Flawed? Yes. Frank ignores the homosexuality of the many men involved with
Garland (they were all alive then, and contributed to the book, so doing
so was virtually impossible). Also, Judy's third husband, Sid Luft, is
portrayed as heroic (many times he was), yet the details of their
complicated union (before and after marriage) make for a terrific read.

Most other bios pale by comparison, and many are flat-out awful.
Christopher Finch's 1975 book is horrendously overrated, although it
covers Garland's early years very well. But "standard" is the best
you can call it. Coyne Steven Sanders' "Rainbow's End" is an absolutely
riveting, spellbinding account of Garland's brief TV series. But 5b4 it
hardly counts as a bio, when it only covers the TV show. John Fricke
has written some pleasant coffee table books, but they are far from
biographies, and the best thing that can be said for them is how greatly
illustrated they are.

You will be instructed by the posts-every-five-minutes-nut on this board
to ignore the Frank book and buy the Fricke books. Ignore such advice.
Despite its limitations, the Frank book still takes the proverbial cake.

Re: Judy biographies (book)

Read them all to make up your own mind.

If you want reality then do the following.

Read anything from John Fricke along with Coyne Steven Sanders, Lorna Smith, and Joan Beck Coulson for the best Judy biographies. To this day no one has actually sat down and written the definitive Judy Garland biography. That explains the list of biographers above. It also means you will most likely have to read autobiographies as well as interviews from people who knew her to also get a good view.

Also read the works of Gerold Frank, Christopher Finch, Rita E. Piro and Lorna Luft [Judy's daughter] for some helpful, but error laden insight. All were done with the best of intentions. They are a far cry from the tabloid trash heap, but they are far from definitive.

Avoid

Mel Torme, Anne Edwards, David Shipman, Sheridan Morley, James Spada, Stevie Phillips, Paul Donnelly, Michael Freedland, John Meyer, Mickey Deans [Judy's fifth and final husband] and Gerald Clarke.

Also be aware that there were people in Judy's orbit who were often self-serving and contradictory like Mickey Rooney for one. If any of these people found themselves in a murder mystery their ever changing stories would automatically make them suspects. Believe what you want but be cautious.

There is plenty to go on. There is a lot of inaccurate information out there. Judy's story is a misunderstood [and over examined] one. Too many myths that should have been eradicated long ago still linger. But any sane person would be able to come to a sane conclusion.

Re: Judy biographies (book)

Sid Luft also wrote a book which was later called 'Judy and I.' Luft loved Judy, but he was a shady character who mishandled Judy's money. His memories were often selective in an effort to absolve himself from blame. Luft once commented;

"I never mismanaged Judy's money. We always had a business manager. When we chose to dissolve our relationship, as far as me managing her, we owed the IRS $14,000, and that's peanuts, and it was cleared up in a manner of minutes."

Right!

That's why IRS agents hounded him for years after Judy's death.

I had always heard that Sid intended to write a biography to counteract Lorna's book [and mini-series], but Sid had already sent a book to the publishers in 1990/91 however poorly written it was.

And while I did hear that they made up eventually, the book and mini-series created a rift. Sid commented;

"It's Lorna's place to call her father. If she doesn't want to talk to me, that's her problem. I'm very charming."

Ladies and Gentlemen, Sid Luft.

Re: Judy biographies (book)

The thing is that no one has actually sat down and written the definitive Judy Garland biography. There were attempts made, but they were often incomplete and outdated or were deliberately self-serving.

The best Judy biography cannot be found in one book. Instead, her story can be found in a mixture of different books and all of them celebrating different aspects of her life and career.

John Fricke wrote three on her that celebrate her talent [while debunking a lot of myths]. He felt, and I agree, that her talent had not yet been fully explored and celebrated. All great biographies put the talent in perspective.

Re: Judy biographies (book)

The first "biography" on Judy was 'The Other Side of the Rainbow' [1970] by Mel Torme. Torme's account is not very pleasant. It depicts Judy as drunk, temperamental, difficult and angry. It was not well recieved by fans or family upon it's release, but critics liked it and for years, Torme's account was accepted as fact. But as author Coyne Steven Sanders found out: There are two sides to every story.

Before THE JUDY GARLAND SHOW, Torme's career was in decline. George Schlatter tracked Torme down in Miami to offer him the part of arranger. Torme did not want to "subordinate my own singing status and chain myself to a piano for someone else." Torme was then offered a chance to have some guest spots on the series. He accepted.

But as the series went on, Torme resented his status as arranger, and also resented helping Judy with her cues. Bernie Rothman, a writer on the show, recalls in his autobiography 'Hollywood and Me: My Wild Ride Through the Golden Age of Television'

"Mel, a well established jazz singer in his own right, is a music writer and occasional performer on Judy's series. He's a big talent. The only thing bigger than his talent is his ego. I meet Mel my first day on the job."

"What do you do, kid?" he asks, like I'm the butler or the upstairs maid.

"I write." I say, faking modesty

"Oh, yeah? You write comedy sketches?"

"Uh-huh."

"Dialogue?"

"Uh-huh."

"Stand-up Monologues?"

"Uh-Huh." In Canada you have to write everything just to make a living. But Torme doesn't like what he's hearing. His eyes narrow. "Ya don't write special material, do ya kid?" [He knows what I do, Gary's [Smith] already told him.]

"Sure I do.", I say, flushing my career down the toilet.

"Not on this show ya don't! That's my specialty."

Well, la-dee da, Mel. Musical material is my specialty too. It's what they hired me for; it's what they're gonna get. "Nice meeting you, Mr. Torme.", I say as I leave his office. He hasn't scared me one bit!

When Mel Torme wrote his book, he made it sound like he was the only one on staff who knew anything, did anything, contributed anything. He bad mouthed everyone, wrote himself in as the hard-bitten hero who showed up in time to save poor, defenseless Judy from all us bad guys. It just wasn't true. We had a very creative staff. Top notch! With a lot less ego than Mel's. Torme's memoir was an ego trip- pure fiction."

"Five years after Mel's book comes out, I get a call from an author who says he's writing a book about Judy's series. I figure it's a joke. It's not.

"Tell me about Torme", he says

Couldn't believe my ears. "You really want to know?" I say. Then I spew my guts out, chapter and verse. My version of the story. All about Torme's ego, how awful he's been- ugly!

"That's real interesting", says the writer.

"Am I the first person you asked that question?"

"No, you're the ninth," he says

"Wha'd the other guys say?"

"You were the kindest," he says, and hangs up.

I read the book when it comes out, and what the writer had said was true- we all got even with Torme. And I'm thrilled.

See, that's what happens when you write a memoir- you get bitchy!

===

The writer on the phone was Coyne Steven Sanders.

--

Judy had Mel fired because she could not handle his ego anymore. Those on the show recall that Torme was late on the arrangements, and did very little work. His ego was enormous. He had this one pencil sharpener which cost him around thirty or forty dollars, and he used to brag about. When it was stolen and hidden, Torme acted like Captain Queeg in THE CAINE MUTINY. Torme spent most of his time trying to bed a dancer on the show instead of writing the medley's for Judy. Liza states, "Mama ignored it so as not to embarrass him. But she was very funny about it. She used to say we'd have to buy him new soles for his shoes, or crepe shoes."

"Rehearsal pianist and dance arranger Jack Elliott states, "It took [Torme] two years, it seemed, to put a medley together, and it would always be the same old thing. He had a guy on staff being paid six hundred or seven hundred dollars a week just to transcribe for him, waiting for him to make up his mind and decide what songs to use. We were all trying to figure out what the hell Mel was doing. As an arranger, Mel was late all the time, and we couldn't move until Mel did something. He made an enormous amount of money and really did very little work. He laid out a bunch of tired old medleys that were done for a hundred years, and she sang them well and so did the people she worked with, but there was nothing unusual or fresh about those things." On a seperate note, Rosemary Clooney once said, "Mel's medleys are only about Mel."

Bernie Rothman recalls that Mel Torme would take ideas from him and re-write them for Judy, but they were more tailored to Torme's style than for Judy. As Rothman stated, "Mel was very tough to take. He had an ego as big as a f###ing house. Well all indulged him. Torme didn't give a f##k about anybody. He didn't give a f##k about Judy either. He wanted to look good with Judy, but he didn't care about her. I don't mean that we were rushing to protect her in any spiritual way. I think we were all aware that we were dealing with a very substantially talented person, a legend of sorts, and that whatever we could do to protect, help, and support her, we were there to do. Mel, on the other hand, was a scene stealer. He took credit from everybody."

Judy left for New 111c York and met piano player Bobby Cole. They became lovers, and Judy brought him back to Hollywood. Cole claimed that he was unaware that Judy viewed him as Torme's successor. Judy punctured Torme's ego by replacing him with an obscure piano-bar player.

According to Bill Colleran, "Bobby Cole is what did it with Mel. He thought he was being replaced. His ego was so huge, he couldn't handle it. She got testy about Bobby Cole, and so did he. She only said once, 'Where's Mel?', and he wasn't around, and she said, and then she said, 'He's O-U-T.' I do like Mel. But he stopped helping her. No matter what he thought of her, that was not professional. Do your job or get out."

Bobby Cole offers, "Judy started bad-mouthing Mel from the get-go. I listened, but I had nothing to contribute. I still have the greatest respect for Mel. Mel must have thought I was sniffing around for his job, but I wasn't. There were a lot of problems, but the problem wasn't Judy. She was not a malicious, vindictive person."

Torme's bitterness led to his book 'The Other Side Of the Rainbow With Judy Garland on the Dawn Patrol' [with Errol Flynn, Basil Rathbone and David Niven, I presume] in 1970 which, mostly, remained unchallenged for twenty years.

George Schlatter declared that Judy was so special that everybody tended to put themselves in the middle of her experiences no matter how minor they were.

Norman Jewison offers: "I was upset by the book. I felt the book came out too soon, and I felt it was exploitative in nature. It certainly didn't do justice to Judy and to the other people who were part of that scene, because Torme was looking at it from his own ego and his own perspective."

George Schlatter adds; As an historian, Mel Torme is a great singer."

Glenn Ford, who dated Judy at the time of the series, vilified Torme's account and called it "Despicable- Mel obviously didn't have the nerve to write those things when she was alive. I was going with her at the time, and I know the things he wrote were just not true."

In 1975, five years after Torme's book, Glenn Ford also said that he would "Punch Torme in the face if he ever ran into him."

Liza Minnelli notes, "When somebody who was as famous and revered as she was dies, it's interesting to see who is the first one to take advantage. I felt that it was vaguely self-promoting. And it's a pity, because I know my mother believed in his talent, and I'm sure would have agreed with me that he didn't need to use anybody else. He tried to make himself so special that he just came off as typical. Mama used to call him 'Mel Torment.'"

Adds Lorna Luft, "He never wrote a book while she was on the television show. He never wrote a book while she was with us. He waited, and [then in a later 1988 autobiography] got the date of when she passed away wrong. I just find it repulsive."

Then in 1990 comes 'Rainbow's End' by Coyne Steven Sanders. A STAGGERING amount contest Torme's self-serving biography. Among those interviewed include, Jack Jones, Jack Carter, George Maharis, Barbra Streisand, Glenn Ford, Peggy Lee, George Schlatter, Mort Lindsey and Rich Little just to name a few. They came down squarely on the side of Judy Garland. Judy's warm personality and professionalism, and humor a favorite memory of each. Torme is not happy.

Sanders recalls this story from Mort Lindsey;

"Mel and Mort happened to be jogging in opposite directions on the beach
in Malibu. I had just spoken to Mel the day before, when he called to'
thank me for a positive review I wrote of his jazz concert at The
Hollywood Bowl. While I had him on the phone, I told him I was writing
a book on Judy's series and asked if he would consent to an interview.
He wasn't pleased but he stammered, "Well, yes..."
Mort stopped Mel."I got a call yesterday from a guy named Steve Sanders. He's a TV
reporter at The Hollywood Reporter."
"I know Steve," said Mort. "He's a good guy."
Frowning, Mel said, "He said he's writing a book on the Garland
television series."
"I know," replied Mort.
"But I've written that book!"
"No, Mel, Steve's book is going to be different."
"Whadd'ya mean?"
"His book is going to tell the truth!"

Confusion arises when those [who were 5b4 not around during the series and when Torme wrote his book] find that Torme's account isn't as bad as many think, and that portions of his book are actually sympathetic towards Judy. What could that mean?

After the 1990 release of 'Rainbow's End' [Sanders], Torme re-released an edited version of his 1970 book in 1991 with a new introduction in which he criticizes a new book [Sanders's book without mentioning it or him by name] after which he proceeds to edit some of the bad stuff to make Judy, but more importantly HIMSELF more sympathetic and understanding. His writing may have changed, but his goal and ego never did.

But, of course, this information doesn't change anything. Torme is still looked on more sympathetically than Judy. People are still criticized because Torme cannot defend himself against these slights. Torme had a chance to defend himself in 1990 and HE DID with the re-release of his book.

And let's not forget that Torme got in there THREE TIMES with Judy [his 1970 book, his 1988 autobiography, and his 1991 re-release].

So whenever someone praises Torme's book, I automatically ask, "which one?"

It doesn't matter since they are both garbage.
--

There is also Torme's account on working on Judy's Christmas special.

Mel Torme suggested that Judy was absent for most of the week, to which Liza countered, "She was always there. She was there at every rehearsal. 5b4 But she was trained like that. She was trained that you get up and go to work and you come home. Mama liked very much the routine of going to work in the mornings and coming home for dinner, except on the taping days. It gave us a sense of order." Further discounting Torme's account was a report filed by the television editor [James Devane] for the CINCINNATI ENQUIRER who observed no temperament and concluded that Judy was a model of patience, good humor and was also a doting mother.

Torme's book recounts a harrowing evening the week of the Christmas-episode taping. Torme details being summoned to Rockingham Drive late one night, where he encountered a wildy out-of-control, inebriated Judy. The episode was triggered, he wrote, when Judy told him that her oldest sister had died from cancer [Sue was the middle child]. However, Sue Cathcart did not die until May of 1964, one month after the series ceased production; in addition, Sue's death was not due to cancer, but from an overdose of sleeping pills, following the dissolution of her marriage to Jack Cathcart [Judy's onetime musical conductor] who had left Sue for a younger woman. Furthermore, Judy received word of Sue's passing not on Rockingham Drive, but in a Hong Kong hospital. Glenn Ford [who was dating Judy] denied the incident occurred, and Bill Colleran recalls the week was a happy one.

Torme edited the part about Sue's death out of his 1991 re-release and tried 2000 to claim that Judy had told him about Sue's death BEFORE it happened.

Judy and Torme's relationship had become strained by this time. He had balked at one more than one occasion about coaching Judy off-camera. Others on the show had strained relationships with him as well. Torme also refused to appear on the Christmas episode because he felt he felt he was second in status to Jack Jones. It was Judy who personally prevailed upon him to reconsider.

Lorna Luft remembered, "The Christmas show was the best. First of all, to get a week off school was the best thing in the world! That was really sensational. Plus the fact that that was when I decided that I really wanted to be in this business. I got a week off school, and I got to know what it was really like to shoot a television show- to watch Liza rehearse, to see Joe learning his numbers, learning to sing with everyone else, to be able to sing on Jack Jones's knee was a great experience! My Mom made it fun for everybody, and it was just great."

Liza recalled, "She loved it when her family was around. She was so family-oriented, and we were all so very, very close."

Joe Luft recalls his mother coaching the children at home, as well as at CBS: "She showed me how to do most of it at home, and then we went once or twice into the studio to make sure we had it right. My mother really loved Christmas. It was her favorite time of the year, and she wanted us to be with her. We went to rehearsals a lot. I knew most of the numbers before, it was just to make sure I had it all memorized. The first time I did 'Where Is Love?' was in one of those neighborhood plays. My mother really liked it, and so she wanted me to do it on the show. I said no at first, because I was very nervous. And I was nervous during the show, especially at the beginning. But after I sang the song, I had fun doing the rest of it."

The self-serving and childish memories of one "man" do not affect in any way the great joy and warmth that this episode intended.

Re: Judy biographies (book)

Your m.o. is to constantly tear other people down to build Judy up. It's not very convincing.

When you die, they won't be able to close your coffin because of your huge HARD ON for Torme! 😨

Get over it.

Re: Judy biographies (book)

John Fricke comments on several Judy biographies in the Bibliography section of his 1992 book 'World's Greatest Entertainer.' Here is what he says about the 1975 biography called 'Judy' by Gerold Frank;

"A highly detailed account of Garland's life and times, done with usually helpful, sometimes hindering, cooperation from her family. Lack's the distance from participants that gives Finch's 'Rainbow' its sheen."

Fricke is referring to Christopher Finch and his book on Judy which came out the same year after 'Judy.'

Fricke did not go into any great detail about 'Judy.' The book was considered definitive in its day and remained so for many years. It still holds that dubious honor in some circles. As far as Judy biographies go, it's one of the better ones, but it's far from perfect.

'Judy' was groundbreaking when it was released, but it is of it's time. Not only has it dated in style, but it has dated because of the lack of information available at the time, and the restrictions forced upon Frank by those involved. There was "too much involvement" with this book. He also had the unfortunate habit of taking everyone at their word.

First, there was Sid Luft. Luft was paid for his involvement, and Frank was not allowed to discuss how he mishandled Judy's money or took any of it to the track. Luft paints himself as Judy's saviour throughout, but most of the problems Judy faced in the 1950s and 60s were directly related to Sid. You have to "read between the lines" when dealing with Sid, but who wants to do that? If I wanted to play guessing games I would have looked at the cover but not the book.

Liza Minnelli refused to have any mention of her grandfathers homosexuality mentioned in the book. To those who had read Judy's story before, this comes as a big le 238 tdown and leaves a huge hole in the book.

Strangely, Frank does make a vague reference to Frank Gumm's sexuality at least near the end of the book. I would imagine that those unfamiliar [it was 1975 after all] with the story would have been scratching their heads at this sudden mention.

Vincente Minnelli's homosexuality is not mentioned and that also applies to Mark Herron and Mickey Deans [who Frank did not interview].

Fields and Begleman embezzled Judy's money, but Frank was afraid of lawsuits so it never made the book.

Not b68 once is Judy's physical collapse on the set of GIRL CRAZY mentioned. Busby Berkeley's involvement on GIRL CRAZY doesn't rate a mention either. I cited this as one glaring example. No mention of Stanley Donen on ROYAL WEDDING either.

There also does not appear to be any exclusive recollections from COUNTLESS people who worked or knew Judy. Van Johnson has a moment where he enquires about Judy's diet of Cottage Cheese! Was that Johnson's contribution to this book? Johnson was one of Judy's closest friends, and one time co-star.

Betty Hutton always claimed that Judy was kind and generous to her when she replaced Judy in ANNIE GET YOUR GUN, but this book will have it otherwise, but no source is given. Where could it have come from? From somebody on the set? Maybe, but not naming the source, or even giving a hint that it came from someone makes me suspicious.

Even those who would have had something negative to say [Torme, Donen, Bogarde] are missing. The whole thing is very incomplete.

Frank praised Mel Torme's 1970 account of THE JUDY GARLAND SHOW which we now know to be a very inaccurate tale. That means that Frank had very little contact with those who worked on the series.

Carnegie Hall just passes by with a quick nod.

Despite what this book says, Judy and Robert Stack DID get along.

Judy did not have any problems with Burt Lancaster. Every account of the filming of A CHILD IS WAITING always mentions his support of her. Burt is on record as saying that he had no problem with Judy.

There was no mention of the abortion Judy had in 1942 during her first marriage to David Rose. I don't think Rose would have wanted that to come out, but to cut him some slack, Rose was powerless to stop it after Louis B. Mayer threatened to ruin his career. And despite what the book says, there were some people who did not like David Rose.

While Frank does get inside the character of Vincente Minnelli, he does not offer any real perspective. Minnelli blamed himself [while not absolving Judy] for the failure of their marriage, but that doesn't get a mention here. There is also the issue of Minnelli's sexuality, which, for obvious reasons, could not be said.

Maybe it was fear, but we only get Dore Schary's side of things. What we now know is that Schary was a self-serving egotist.

Artie Shaw didn't know Judy was in love with him??? Really? Even when she started "kissing him like a woman?" That didn't set off any bells? I'm just wondering why Frank didn't look any closer into that. I'm sure we have all picked up on subtle clues that a woman is interested. How obvious did Judy have to get?

Frank is too eager to discredit the idea that Louis B. Mayer saw Judy as nothing more than a prop. He doesn't mention Mayer's cruelty [as witnessed by songwriters Bob Wright and Chet Forrest, or Jackie C 111c ooper's own experiences with Mayer.] There is no mention of the many warnings that Mayer ignored concerning Judy's health.

Frank also wants to give us the idea that Judy [maybe not an alcoholic], was a heavy drinker. Luft appears to go along with this idea, at least a little, but on other occasions has claimed that Judy didn't drink much at all. For the record, this has been supported by Lorna Smith, Peter Lawford, Jayne Meadows and Danny LaRue. Judy's coroner stated; "There is no question of alcoholism. No effects of alcoholism could be found on her body; no cirrhosis of the liver; no effects of chronic alcoholism; [and] no changes in the liver" that pre-occur in alcohol-oriented liver disease."

Frank dismisses the idea that Sid Luft may try to take the children. Many pages later Sid admits he tried to take the children.

There is one moment in the book that might as well have come straight from THE CARPETBAGGERS. Joseph L. Mankiewicz screams and shouts at Louis B. Mayer on a train. It could have happened, but it seems like a screenwriter wrote it, and what was Mankiewicz again? Mankiewicz was also known for his tall stories. Didn't it strike anyone odd that Mankiewicz, a known "storyteller" called Judy a "pathological liar" and recommended psychiatric help?

The affair with Tyrone Power is just brushed aside, when in fact it lasted over a year. The Betty Asher story about Power reading Judy's love letters did not occur, but there was an abortion and the two really did love each other. Power [as his letters show] did not blame Judy for the break-up. I did hear that Judy would speak of Power with affection. For the record, Annabella, Power's first wife, claimed she had no knowledge of Judy's pregnancy or that her husband had asked her for a divorce during the time of the affair. Annabella knew of the affair, but Power did not know how she figured it out. Power was still pining for Judy when she started dating Vincente Minnelli. But those are stories for another time.

While the book truthfully states that Judy did not get along with John Cassavetes [she got along with Burt Lancaster] there is no reason given for it. Just to settle the matter, Cassavetes was [as he admitted] very well known for his volatile temper. He admitted that he tried to turn Judy against Burt Lancaster and Burt Lancaster against Judy. But to no avail.

Judy obviously joked with Charles Walters on the set of EASTER PARADE, "Listen buster! I ain't no June Allyson." etc, etc, etc. Walters claimed it was a joke, but Frank takes it as a serious threat. Walters spoke of it as a joke between him and Judy.

And last of all. There are many co-stars who never speak about their association with Judy. Look at the missing list.

Buddy Ebsen
George Murphy
Allan Jones
Billie Burke
Jack Haley
Ray Bolger
Hedy Lamarr
James Stewart
Lana Turner
Marjorie Main
Margaret O'Brien
Lucille Bremer
Tom Drake
Cyd Charisse
Angela Lansbury
Ann Miller
Janet Leigh
Van Johnson!!!
Gloria De Haven
Jack Carson [his recollections are on record]
James Mason
Maximilian Schell
Burt Lancaster
Gregory Philips
Robert Goulet
Vic Damone
Barbra Streisand
Tony Bennett
Peggy Lee
Jane Powell
Ethel Merman
Martha Raye
Jayne Meadows
Donald O'Connor
Rich Little
Diahann Carroll
Jack Jones
Zina Bethune

Even Judy's closest friends like June Allyson and Debbie Reynolds barely get a couple of mentions. All those mentioned above loved working with Judy, but even self-serving "enemies" like Mel Torme, Dirk Bogarde, Stanley Donen barely get a mention either. Even if they did, I'm certain Frank would have overlooked their personalities and would have accepted their words as gospel.

Re: Judy biographies (book)

Like Gerold Frank's biography, Christopher Finch's was once considered a definitive account of Judy's life, but now appears dated.

For one thing, Finch's take on Frank Gumm's homosexuality is now considered inaccurate. He relies too much on "Jimmie" Gumm who dispels the notion. Others [like Marcella Rabwin] confirmed Frank's sexuality. There is enough evidence going around that supports the rumors.

"Jimmie" blames the rumors on Judy!!! I must be the only one who thinks that was an appalling accusation. Judy was a little girl when those rumors began. She would never have been able to comprehend what a homosexual was at that time, nor would she have been able to start a rumor at that time that would cause all the excitement it did. Although Finch disagrees with the idea, I don't think he quite grasped the enormity of what "Jimmie" had said. I would have been a little more careful and suspicious of "Jimmie" after that.

According to John Fricke, Christopher Finch has realized that his portrait of Ethel Gumm was one sided. And it is.

The last fifteen years of Judy's life are rushed through as if she didn't accomplish anything important. And where the hell are the hundreds of recollections from those close to her?

Re: Judy biographies (book)

Listen to John Fricke talk about 'Judy: A Legendary Film Career.'

https://www.youtube.com/watch?v=3yPfS9dObus

Re: Judy biographies (book)

Although flawed, "Judy" provides the best definition of WHO Garland was
and WHAT show business was during her lifetime. No other book can claim
that. The final years at MGM are covered in great detail, especially
"The Pirate" and the ill-fated "Annie Get Your Gun." In totality, it is
still the best bio written on Garland to date.

Fricke has only written coffee-table CAREER books. He has never written
a biography on Garland.

Re: Judy biographies (book)

That's an excellent book, although I suggest people also read the memoir of her manager. I will start a thread about it.


!-.-! Meow.

Re: Judy biographies (book)

Gerold Frank's biography is a flawed book. One of the reasons for this is the noticeable lack of participants in his book. In order to really know what Judy was all about you have to read THOUSANDS of comments from individuals who knew her. They may be small contributions, but they add up to a big picture.

Re: Judy biographies (book)


In order to really know what Judy was all about you have to read THOUSANDS of comments from individuals who knew her.

And, YOU only pick out the comments you like -- and reject all the others.

You're an idiot.

Go away!

Re: Judy biographies (book)

I agree. Like Monroe, Garland is too complex and contradictory figure to capture accurately, cover to cover. Garland--like MM--was given to a great deal of self-dramatizing. Lying. Of course Judy lived longer and had a greater talent--so much more was expected of 16d0 her. But similar myths and self-serving legends sprang up about both. It's impossible to cite a "definitive" MM or Judy bio, but for Garland, it is the Frank book that I feel captures her best. Some others have their positive aspects, but "Judy" is the one to start with, and IMO, eventually the most satisfying.

Re: Judy biographies (book)

I don't think much of the Judy/Marilyn comparisons. Sure they had some similarities, but not too much. Marilyn was given to self-dramatizing, but she was also the victim of COUNTLESS others who also lied. Reading biographies on her often comes down to a he said this and she said that. The poor thing had both Mickey Rooney and Tony Curtis sprouting crap about her! Judy had nowhere near the amount of self-serving people around her that Marilyn did.

What I've noticed about Judy is that she liked to tell a good story, but I have noticed that the more painful the story, the more humor she used. I've also noticed that the more serious stories tended to be true, but the funny stories tended to be told in a way that let you in on the joke.

I've gotten lazy during the past year, so I'll post what I think about the Gerold Frank biography later on.

Re: Judy biographies (book)

Mel Torme's book was the first "real" biography on Judy. It's inaccurate and self-serving but it's the first. It paved the way for the mixed results that followed.

Then came 1975 with three books. One of them was Gerold Frank's 'Judy.' It was considered quite groundbreaking in its day, but ultimately it's a mediocre and flawed book. Not only has it dated in style, but it has dated because of the lack of information available at the time, and the restrictions forced upon Frank by those involved. There was "too much involvement" with this book. He also had the unfortunate habit of taking everyone at their word.

First, there 2000 was Sid Luft. Luft was paid for his involvement, and Frank was not allowed to discuss how he mishandled Judy's money or took any of it to the track. Luft paints himself as Judy's savior throughout, but most of the problems Judy faced in the 1950s and 60s were directly related to Sid. You have to "read between the lines" when dealing with Sid, but who wants to do that? If I wanted to play guessing games I would have looked at the cover but not the book.

Liza Minnelli refused to have any mention of her grandfathers homosexuality mentioned in the book. To those who had read Judy's story before, this comes as a big letdown and leaves a huge hole in the book.

Strangely, Frank does make a vague reference to Frank Gumm's sexuality at least near the end of the book. I would imagine that those unfamiliar [it was 1975 after all] with the story would have been scratching their heads at this sudden mention.

Vincente Minnelli's homosexuality is not mentioned and that also applies to Mark Herron and Mickey Deans [who Frank did not interview].

Fields and Begleman embezzled Judy's money, but Frank was afraid of lawsuits so it never made the book.

Not once is Judy's physical collapse on the set of GIRL CRAZY mentioned. Busby Berkeley's involvement on GIRL CRAZY doesn't rate a mention either. I cited this as one glaring example. No mention of Stanley Donen on ROYAL WEDDING either.

There also does not appear to be any exclusive recollections from COUNTLESS people who worked or knew Judy. Van Johnson has a moment where he enquires about Judy's diet of Cottage Cheese! Was that Johnson's contribution to this book? Johnson was one of Judy's closest friends, and one time co-star.

Betty Hutton always claimed that Judy was kind and generous to her when she replaced Judy in ANNIE GET YOUR GUN, but this book will have it otherwise, but no source is given. Where could it have come from? From somebody on the set? Maybe, but not naming the source, or even giving a hint that it came from someone makes me suspicious.

Even those who would have had something negative to say [Torme, Donen, Bogarde] are missing. The whole thing is very incomplete.

Frank praised Mel Torme's 1970 account of THE JUDY GARLAND SHOW which we now know to be a very inaccurate tale. That means that Frank had very little contact with those who worked on the series.

Carnegie Hall just passes by with a quick nod.

Despite what this book says, Judy and Robert Stack DID get along.

Judy did not have any problems with Burt Lancaster. Every account of the filming of A CHILD IS WAITING always mentions his support of her. Burt is on record as saying that he had no problem with Judy.

There was no mention of the abortion Judy had in 1942 during her first marriage to David Rose. I don't think Rose would have wanted that to come out, but to cut him some slack, Rose was powerless to stop it after Louis B. Mayer threatened to ruin his career. And despite what the book says, there were some people who did not like David Rose.

While Frank does get inside the character of Vincente Minnelli, he does not offer any real perspective. Minnelli blamed himself [while not absolving Judy] for the failure of their marriage, but that doesn't get a mention here. There is also the issue of Minnelli's sexuality, which, for obvious reasons, could not be said.

Maybe it was fear, but we only get Dore Schary's side of things. What we now know is that Schary was a self-serving egotist.

Artie Shaw didn't know Judy was in love with him??? Really? Even when she started "kissing him like a woman?" That didn't set off any bells? I'm just wondering why Frank didn't look any closer into that. I'm sure we have all picked up on subtle clues that a woman is interested. How obvious did Judy have to get?

Frank is too eager to discredit the idea that Louis B. Mayer saw Judy as nothing more than a prop. He doesn't mention Mayer's cruelty [as witnessed by songwriters Bob Wright and Chet Forrest, or Jackie Cooper's own experiences with Mayer.] There is no mention of the many warnings that Mayer ignored concerning Judy's health.

Frank also wants to give us the idea that Judy [maybe not an alcoholic], was a heavy drinker. Luft appears to go along with this idea, at least a little, but on other occasions has claimed that Judy didn't drink much at all. For the record, this has been supported by Lorna Smith, Peter Lawford, Jayne Meadows and Danny LaRue. Judy's coroner stated; "There is no question of alcoholism. No effects of alcoholism could be found on her body; no cirrhosis of the liver; no effects of chronic alcoholism; [and] no changes in the liver" that pre-occur in alcohol-oriented liver disease."

Frank dismisses the idea that Sid Luft may try to take the children. Many pages later Sid admits he tried to take the children.

There is one moment in the book that might as well have come straight from THE CARPETBAGGERS. Joseph L. Mankiewicz screams and shouts at Louis B. Mayer on a train. It could have happened, but it seems like a screenwriter wrote it, and what was Mankiewicz again? Mankiewicz was also known for his tall stories. Didn't it strike anyone odd that Mankiewicz, a known "storyteller" called Judy a "pathological liar" and recommended psychiatric help?

The affair with Tyrone Power is just brushed aside, when in fact it lasted over a year. The Betty Asher story about Power reading Judy's love letters did not occur, but there was an abortion and the two really did love each other. Power [as his letters show] did not blame Judy for the break-up. I did hear that Judy would speak of Power with affection. For the record, Annabella, Power's first wife, claimed she had no knowledge of Judy's pregnancy or that her husband had asked her for a divorce during the time of the affair. Annabella knew of the affair, but Power did not know how she figured it out. Power was still pining for Judy when she started dating Vincente Minnelli. But those are stories for another time.

While the book truthfully states that Judy did not get along with John Cassavetes [she got along with Burt Lancaster] there is no reason given for it. Just to settle the matter, Cassavetes was [as he admitted] very well known for his volatile temper. He admitted that he tried to turn Judy against Burt Lancaster and Burt Lancaster against Judy. But to no avail.

Judy obviously joked with Charles Walters on the set of EASTER PARADE, "Listen buster! I ain't no June Allyson." etc, etc, etc. Walters claimed it was a joke, but Frank takes it as a serious threat. Walters spoke of it as a joke between him and Judy.

Another thing is Frank's habit of paraphrasing comments from those he spoke to. That's probably the reason why later quotes come off different than the ones Frank used.

And last of all. There are many co-stars who never speak about their association with Judy. Look at the missing list.

Buddy Ebsen
George Murphy
Allan Jones
Billie Burke
Jack Haley
Ray Bolger
Hedy Lamarr
James Stewart
Lana Turner
Marjorie Main
Margaret O'Brien
Lucille Bremer
Tom Drake
Cyd Charisse
Angela Lansbury
Ann Miller
Janet Leigh
Van Johnson!!!
Gloria De Haven
Jack Carson [his recollections are on record]
James Mason
Maximilian Schell
Burt Lancaster
Gregory Philips
Robert Goulet
Vic Damone
Barbra Streisand
Tony Bennett
Peggy Lee
Jane Powell
Ethel Merman
Martha Raye
Jayne Meadows
Donald O'Connor
Rich Little
Diahann Carroll
Jack Jones
Zina Bethune

Even Judy's closest friends like June Allyson and Debbie Reynolds barely get a couple of mentions. All those mentioned above loved working with Judy, but even self-serving "enemies" like Mel Torme, Dirk Bogarde, Stanley Donen barely get a mention either. Even if they did, I'm certain Frank would have overlooked their personalities and would have accepted their words as gospel.

Finch 7ec and Frank, they pursued a noble goal, but the goal was just too big for either of them. They tried, and that is what separates them from the worst of the Garland biographers.

The problem is that everytime I pick up the book I find more inconsistenties that it's hard to take the book too seriously except as a product of it's time.

That brings us to Christopher Finch and 'Rainbow.'

This book is often compared to Frank's book, but why??? It's better in some ways but not much. His descriptions of the Gumm and MGM era are good, but not really enlightening and are now considered flawed.

For one thing, Finch's take on Frank Gumm's homosexuality is now considered inaccurate. He relies too much on "Jimmie" Gumm who dispels the notion. Others [like Marcella Rabwin] confirmed Frank's sexuality. There is enough evidence going around that supports the rumors.

"Jimmie" blames the rumors on Judy!!! I must be the only one who thinks that was an appalling accusation. Judy was a little girl when those rumors began. She would never have been able to comprehend what a homosexual was at that time, nor would she have been able to start a rumor at that time that would cause all the excitement it did. Although Finch disagrees with the idea, I don't think he quite grasped the enormity of what "Jimmie" had said. I would have been a little more careful and suspicious of "Jimmie" after that.

According to John Fricke, Christopher Finch has realized that his portrait of Ethel Gumm was one sided. And it is.

Somewhere in there was Lorna Smith and her book 'Judy: With Love.' This is one of the best Judy biographies. It doesn't cover much of Judy's early life, but it does cover the bases of Judy as a human being and was thus the first to dispel many myths about her life and personality. It laid the ground work for other books of its kind.

Re: Judy biographies (book)

There should be at least one book on Judy called 'The Myth Of Garland.' It should examine all the *beep* that has been said or written about her since her lifetime.

Re: Judy biographies (book)

That's an excellent book, although I suggest people also read the memoir of her manager. I will start a thread about it.
--

Add Stevie Phillips to the trash pile of worthless Judy biographers along with Mel Torme, Anne Edwards, David Shipman, Sheridan Morley, James Spada, Paul Donnelly, Michael Freedland, John Meyer, Mickey Deans [Judy's fifth and final husband] and Gerald Clarke.

Anyone can believe what they want, but Judy's close friends and family have consistently denied the types of allegations that Phillips has made for several years. The truth has always come up on Judy's side more often than not.

Re: Judy biographies (book)

I am very interested in learning about the facts of Judy Garland's life. Fans will never know the whole truth, but hopefully some of these books will provide some insight.

Re: Judy biographies (book)

I am very interested in learning about the facts of Judy Garland's life. Fans will never know the whole truth, but hopefully some of these books will provide some insight.
--

My advice is to read everything you can on Judy and that includes the inaccurate biographies. That way you'll be able to form your own impression on what she was like.

There has not been any one biography that has captured her real story, but reading more than one will provide an insight. I said before to read all you can, but my advice is to focus on books by Lorna Smith, Coyne Steven Sanders, John Fricke, and Joan Beck Coulson.

Don't f b68 orget to also seek out anecdotes from others that are not found in any books. There are hundreds of them that detail her warmth and generosity.

Re: Judy biographies (book)

Not a biography but another one to look out for is the book by Scotty Bowers called 'Full Service.' He belongs on the heap with Darwin Porter and David Bret when it comes to lacking evidence. Judy comes under some inaccurate writing [yet again];

"George Cukor was an early riser and usually went to bed at nine o'clock
in the evening. He wasn't a night owl at all. Whenever he threw a
party it was either a luncheon or a small informal dinner for a select
group. His films included A Star is Born, the classic drama starring
Judy Garland and James Mason. That 1954 production caused
him untold headaches. Because of her erratic behavior on set it also
fostered his intense dislike of Garland.

"That dreadful woman!" he once confide 111c d in me. "What a bitch
she is. I'll never work with her again. Ever!"

One day, during the making of A Star is Born, George and his
crew were shooting a very difficult scene on one of the biggest soundstages
on the Warner Bros. lot. There was a huge interior set and the
lighting and camera work were unusually complicated. It was ten
o'clock in the morning and they had just done one run-through of the
scene. There were at least a hundred technicians involved and Sam
Leavitt, the director of photography; Gene Allen, the production designer;
Malcolm Bert, the art director; and various members of the
lighting, camera, grips, sound, and construction crews had a lot of
minor tweaking and last-minute alterations to take care of before
George could call for a take. Despite the amount of work that needed
to be done, the delay was expected to take no more than fifteen or
twenty minutes. As everyone knows, when it comes to motion picture
production, time is money. Lots of money. Long delays could
cost the studio a small fortune. The assistant director announced to
everyone over the megaphone that there would be a short wait. Judy
Garland plopped down on her chair, sighed, fanned herself with her
script, then got up and told the assistant director that she needed
to go to the bathroom. She promised that she wouldn't be away for
more than ten minutes. Her dressing room and private bathroom
were just off to the side of the soundproofed studio. So, off she went.
Fifteen minutes later when the assistant director called out, "Places,
please, everyone!" there was no sign of Judy.

Major stars always have what are known as stand-ins on the
set. It's their job to take the place of the star while camera crews and
lighting technicians make adjustments to ensure that the lighting
and lens focus on the. actors are exactly as the director and the director
of photography want them. Judy's stand-in was immediately
dispatched to Judy's dressing room to make sure that she was all
right and to ask her to kindly return to the set. But a couple of minutes
later she returned with the disturbing news that Miss Garland
was neither in her dressing room nor her bathroom. Panic rippled
through the entire cast and crew. Where could she be? Three assistant
directors ran off in various directions to look for her. But Judy was
nowhere to be found. Pandemonium broke out. Frantic phone calls
were made to other soundstages, to the administration building, to
the makeup, hairdressing, and wardrobe departments. But no one
had seen Judy. George Cukor was the only one who suspected what
might have happened. From past experience he knew that Garland
occasionally exhibited moody and erratic behavior. And there was a
story behind that. As a seventeen-year-old, during the filming of The
Wizard of Oz at MGM in 1939, she had been kept on what amounted
to a starvation diet to maintain her trim figure. She had also been
pumped up with caffeine and amphetamines to sustain her energy
level. This had kept her wide awake at night so she was given barbiturates
to help her sleep. As a result Garland had become addicted
to tranquilizers and other drugs. She became unstable, moody, and
prone to depression.

"Call all the gates," Cukor ordered. 'Ask anyone if they saw her go out."

Sure enough, the guard at one of the main studio security gates
reported that he had seen Garland come out of the soundstage, walk
over to her car, which was parked in a private bay nearby, and get
into it. She had driven up to the gate smiling broadly and waved as
the guard opened it to let her out. She had turned onto West Olive
Avenue and drove away from the studio, disappearing into traffic.
No one could reach her anywhere for the next two days. She wasn't at
home and she wasn't with friends; nobody knew where she had gone.
On the third day after her sudden departure she returned to
the set. No explanations were given and no apologies were made.
She pretended as though nothing had happened. Meanwhile, her absence
had caused havoc on the production. Hundreds of people were
kept on tenterhooks and the studio absorbed cost b68 s that ran into multiple
thousands of dollars. As no other sets were ready, the unit could
not shoot anything else and the production was now behind schedule.
Even when executive producer Jack Warner hauled Garland over the carpet
in his office she refused to acknowledge that she had done
anything wrong. George told me that this was only one of her many
misdeeds during the shooting of the film. He said that she was never
on time for her call.

"That cow was never, ever on time. She always kept us waiting.
She never explained herself and she never said sorry. Not once. She
was an unpredictable, unreliable, untrustworthy, and unrepentant
bitch!"
--

This exchange between Bowers and Cukor would never have taken place for some very good reasons.

1. Cukor always spoke lovingly of Judy. Sure there were problems on the set, but not all of them were Judy's fault. Cukor was after a chance to work with her again in the 1960s and that included films about Edith Piaf and Laurette Taylor.

2. Judy often had herself driven to the studio as makeup man Del Armstrong recalled;

"Regardless of what Judy felt internally, she never showed it on the screen. But when it was finally a wrap for the day, she would many times ask me to take her home because she was so wrung out from the concentration. You can just wring so much out of a dish rag. Director George Cukor was one who would do takes over and over and over. Especially the scene in her dressing room when she was breaking down crying. I don't know how many times I put those freckles back on her- because she's cry and rub them all off. What was seen on the screen in that six-minute scene was actually shot over two or three days. So the big process for an actress and the director is to get the performance up to that level every time. Meanwhile, the crew would have to take an hour or whatever it took to relight the whole set to get a different angle. The Judy would rehearse and rehearse and bring herself up to the same pitch again.

Now there were days when we didn't do any [filming], because they were rehearsing with Judy. And they were re-writing stuff; there were delays for that. And if Jack Warner or any of the powers that be would question the lack of footage and say, "Hey, we got to move", they'd say, "Well, Judy's not feeling..." I mean, she was the escape hatch; I saw them use that quite a few times. They would put the blame on Judy, because they knew it wouldn't go any further than that. No one would go and ask her; everybody assumed, "Oh well, [we've] got a temperamental star, so we'll make the best of it."

3. While there were problems, and Judy could cause some as well, many on the film from Cukor, James Mason, Jack Carson, Del Armstrong and Moss Hart recall her warmth and professionalism.

4. I don't know where Bower 5b4 s got this idea about Judy being hooked on caffeine. Never heard that one.

5. While Judy could be late on occasion, she was not "always late" as James Mason AND Cukor pointed out in interviews.

6. And finally, this last quote is inaccurate.

"That cow was never, ever on time. She always kept us waiting.
She never explained herself and she never said sorry. Not once. She
was an unpredictable, unreliable, untrustworthy, and unrepentant
bitch!"

This is the real quote from Cukor.


"Nobody ever says how intelligent she was, or how witty. Stories about her are frozen in a pattern, as if she had no life after 'Over the Rainbow.' She was the best raconteur, the funniest woman I've ever seen. The depth and perception she bought to A STAR IS BORN were extraordinary... I marvel at her sensitivity." - George Cukor

And look at these other quotes from those who worked or were present at the time of A STAR IS BORN.

"Judy is the hardest worker I've ever seen. And Ina Claire said the same thing. She saw Judy doing some scenes, and she said that after Judy put in three hours on a set, she should go home in an ambulance. I'm an old athlete myself- football and track and so on. And I tell you that, in a four-minute song, Judy uses up as much energy as if she ran a mile at top speed." - Sid Luft


"Judy is completely enchanting. She is one of the wittiest and most inte 111c lligent creatures I have ever known and certainly one of the few actresses who is a person in her own right, apart from her talent. There's something very appealing about her.... One wants to protect her- [to] take her in your arms, and make sure that no harm befell her." - Moss Hart



"Judy's a great, great talent. I loved working with her. After so much TV, where a whole show is done in a day, it was a pleasure to spend a day on a one-minute scene. Director George Cukor wanted perfection; so did Judy. I didn't see any displays of temperament, but when Judy wasn't ready for a scene, she wouldn't do it. That's good sense- not temperament- if you can afford the luxury of being sensible in this racket. It was like the old days of picture-making, with lots of time, lots of money, and lots of talent." - Jack Carson



"Judy was essentially a witty, lively, talented, funny, adorable woman. If the film went over-budget, only a very small fraction was due to her erratic timetable. She was by no means temperamental. [That's] usually an euphemism for selfish and bad-tempered. That sort can be a real time-waster. This was not Judy." - James Mason

Re: Judy biographies (book)

It's impossible to cite a "definitive" MM or Judy bio, but for Garland, it is the Frank book that I feel captures her best. Some others have their positive aspects, but "Judy" is the one to start with, and IMO, eventually the most satisfying.
--

The Gerold Frank biography is a noble effort, but there are TOO MANY things wrong with it. I'll post them later, but one issue I have is the absence of many associated with Judy. Bing Crosby, Frank Sinatra, Dean Martin, Sammy Davis Jr, June Allyson, Debbie Reynolds, etc are not heard from.

Frank discusses the films Judy worked on, but offers no recollections from people like George Murphy, Margaret O'Brien, Tom Drake, Gladys Cooper or Van Johnson.

Re: Judy biographies (book)

John Fricke gives some insight into the myths that plagued Judy during her life and after her death. Here he discusses his book 'Judy: A Legendary Film Career.'

https://www.youtube.com/watch?v=3yPfS9dObus

Re: Judy biographies (book)

Peter Mac discusses the myths that have plagued Judy during her life and after in this article NOT THE END OF THE RAINBOW: FACT VS. FICTION.

http://www.huffingtonpost.com/peter-mac/not-the-end-of-the-rainbo_1_b_2995803.html

Re: Judy biographies (book)

Interview with Joan Beck Coulson author of 'Always For Judy.'

http://thejudygarlandexperience.blogspot.com.au/2014/03/joan-beck-coulson-and-gary-horrocks.html

What do you think your book will add to the huge corpus of information about Judy?’

Joan: I hope it will show the real person behind the myths and rubbish that has often been written about her. Many young fans have told me that they were not able to finish reading some of the biographies because they find them too distressing. I could not ignore the last few years of Judy’s life but there are so many beautiful and fun moments, which I have documented. Reading many of the books about Judy, I felt they bore no relationship to the person I had met and I wondered where the authors had found some of the material they wrote about. Most of the books portrayed a woman who was nothing like the sweet, friendly, charming person I met. I realize publishers want sensational content, which will sell well. This is why I prefer to publish myself so I have control over what material is included.’

Re: Judy biographies (book)

Joan Beck Coulson talks about Judy at June's Judy Garland Festival in Grand Rapids, Minnesota in 2015.

https://www.youtube.com/watch?v=1i2i-tOFFGo

Re: Judy biographies (book)

Joan Beck Coulson talks about working at CBS at the time Judy was doing her television series.

https://www.youtube.com/watch?v=1vQMOXBSUvQ

Re: Judy biographies (book)

Lorna Luft's Letter To The Editor about Gerald Clarke's biography on Judy 'Get Happy.'

To The Editor:

I have kept silent about my feelings on Gerald Clarke's book on my mother, Judy Garland. However, I must respond to the untruths he has written and said about me. My actions, feelings and emotions as a daughter were never shared with Mr. Clarke, because he never spoke to me. None of my representatives received any correspondence, and I open my own mail. In ten years of research, if he wanted to talk to me, I can be found.

I am not a "victim of her myth". This book has merely added a few more fairy tales to the existing stories, legends, and half-truths about my mother. The things he wrote about me are out and out lies. I never called her a bitch, and I never "despised" her. How dare he question how well a daughter knows her mother. Yes, we had help in the house, but I had a mother. There was never a time when she was at home that I "didn't see her for days at a time". Whenever possible, she took us on tour with her, and, in any event, she called us every night. After reading about myself, I checked the back of the book to see if his interviews included The Amazing Kreskin.

My mother was my biggest fan, and attended many of the neighborhood productions I appeared in as a child. However, I was never in a school play of "The Unsinkable Molly Brown".

I have learned that one of the most outrageous, graphic, and unnecessary stories, which is completely unattributed in the book, was told to him by my mother's "friend" Tom Green. This man has admitted that the story was totally made up. Thanks to Mr. Green and Mr. Clarke, this ludicrous fantasy will forever "be taken as gospel and reprinted over and over again".

Mr. Clarke dismisses as fiction all of the previous books, both scholarly and dishy, that have been written about my mother. So he "started from scratch", speaking with every single solitary person who ever met my mother, and my grandparents, except the people who lived in her house -- her children.

Mr. Clarke says he "felt liberated from any obligation to slant the story", and obviously also felt no obligation to the truth.

Lorna Luft

Re: Judy biographies (book)

Re: Judy biographies (book)

I've been lazy as of late and detailing the flaws in Gerold Frank's book is a long one, so I'll stick to keeping it brief.

1. Frank was hampered by the control of Liza Minnelli [who refused to discuss her grandfather's homosexuality], Vincente Minnelli [who refused to discuss his own], Sid Luft [in for a percentage], Mark Herron [refused to admit his homosexuality], Fields and Begelman [who would sue]. Therefore Frank had his hands tied with what he was allowed to print.

2. A lot of his book in incomplete. Frank misses out on several reactions from people who knew or worked with Judy. Some of these people [like June Allyson, Debbie Reynolds to name two] were close friends and are represented in passing.

3. Frank often fails to question his sources. Rarely does he actually cast doubt on a story about Judy's behavior. It appears that everything is taken as truth.

And at the top of 1354 my head, that is all.

Re: Judy biographies (book)

Mel Torme[nt]'s book 'The Other Side Of the Rainbow' is often described as "controversial", a safe word for those who do not wish to know just how devious the book really is.

Or could it be that they really just don't know? Some are actually surprised to read his book and come to a conclusion that it really wasn't all that harsh towards Judy and that poor Mel has been tarnished and that Judy was portrayed respectfully and honestly.

What is not generally known is that Torme had written his first account in 1970 which did not deal with Judy in a respectful way. In 1990 Coyne Steven Sanders came out with his book 'Rainbow's End' which had the distinction of having many of Judy's colleagues from the tv series on hand to dispel what Torme had written.

So 20 years later Torme wasn't going to stand for that. He then edited his book to put Judy in a better light and to explain things that he couldn't lie about anymore. In doing this he contradicted himself in places he had long forgotten about. He must also have forgotten that he had written an autobiography ['It Wasn't All Velvet', 1988] in which he was just as angry at Judy as before.

Re: Judy biographies (book)

John Fricke is working on his next Judy book.

Re: Judy biographies (book)

John Fricke talks about his book 'Judy: A Legendary Film Career' and debunks some myths along the way.

https://www.youtube.com/watch?v=3yPfS9dObus

Re: Judy biographies (book)

metalman091 said... John Fricke talks about his book 'Judy: A Legendary Film Career' and debunks some myths along the way.

https://www.youtube.com/watch?v=3yPfS9dObus
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Joan Coulson's book 'Always For Judy' was a sweet book.

Re: Judy biographies (book)

TonTon said... Joan Coulson's book 'Always For Judy' was a sweet book.
expand
The last time I heard back in 2014 or 2015, John Fricke was writing another one on Judy. It was going to go into detail about her stage and radio career.
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