There's No Place Like Home • The Great Oz Knows Why You Have Come
How Very Resourceful • Pay No Attention to That Man Behind the Curtain
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Authors • Illustrators • Publishers • Titles •
Years • Genre • There's No Place Like Home • The Great Oz Knows Why You Have Come How Very Resourceful • Pay No Attention to That Man Behind the Curtain |
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| Search | Most Recent | The Daily Ozmapolitan |
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| News from Glinda's Great Book of Records |
| Get Happy : The Life of Judy Garland |
| 2000 | |
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Author(s): Clarke, Gerald |
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Publisher(s): Random House, New York |
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Genre(s): Biography |
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Comments: Judy Garland's on-screen longing for a land where "sorrows melt like lemon drops away above the chimney tops" was answered with a life plagued by emotional agony, dependency on drugs and alcohol, exploitative relationships, suicide attempts and physical violence. This exhaustively researched and illuminating biography by Clarke, whose bestselling 1988 life of Truman Capote won critical praise, is as compassionate as it is wrenching. It follows the basic themes established by the best of the more than 20 biographies and memoirs of Garland that have appeared since her 1969 death (in particular, Gerald Frank's 1975 bio, authorized by her family). But while most portray Garland as tormented by inexorable and sometimes inexplicable inner demons, Clarke brings to his work a far harsher evaluation of how the singer was treated by her employers, family and lovers: her mother gave her amphetamines at the age of four; producers at MGM sexually harassed her as a young teen; husband Vincente Minnelli cheated on her with men soon after their marriage; husband Sid Luft stole millions from her; fourth husband Mark Herron had an affair with Garland's son-in-law, Peter Allen (then married to Liza Minnelli). Many of Clarke's revelations are of a sexual nature--he mentions affairs with Sinatra, Glenn Ford, Yul Brynner and Tyrone Power as well as with women. Other revelations, such as of Garland attacking her young son, Joey, with a butcher's knife, are simply shocking. Yet Clarke never exploits this volatile material as cheap gossip; instead, he deftly weaves it into a detailed, respectful and haunting portrait. |
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