Judy and I

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Judy and I Page 46

by Sid Luft


  I consider Freddie Fields and David Begelman responsible for Judy’s death as well. It’s an interesting study of Hollywood behavior when you think of this: Freddie Fields became the president of MGM, and David Begelman the president of Columbia Pictures. Columbia chose Begelman to head the studio in 1973, but just a few years later, in 1977, it was revealed that he was under some sort of investigation. It came as no surprise to me when, after seven weeks of looking into Begelman’s files, Price Waterhouse came back with a report that he’d been caught stealing from the studio. David had obviously cut his teeth on this kind of scam with Judy. He was just stepping it up when he did it at Columbia. He went from stealing hundreds of thousands from Judy to millions from Columbia.

  Surprisingly, the Columbia board of directors decided they could live with that, and they launched a plan to cover Begelman’s tracks. They covered up for him just like Fields did in Judy’s case. In fact, there was a list a mile long of people who’d covered up for Begelman. He was finally let go from Columbia anyway. Begelman ran amok, and he finally ran out of gas. He couldn’t live with himself. Eventually he blew his brains out. When a friend called me and said that the bastard had shot himself, I said, “Well, he sure as hell shot the right guy.”

  Our family never recovered from what Freddie Fields and David Begelman did to us. My life and the lives of Lorna and Joey were never the same. The only person who recovered financially was Liza. Emotionally, none of us ever overcame it. It wasn’t just an accidental overdose; Freddie Fields killed Judy Garland, and David Begelman was his accomplice that did the shooting.

  Leopold and Loeb may have gotten away with it, but Freddie still had to live with it. He wiped the blood off his hands and went into hiding. No one heard much more about him after Judy’s death; it was over for him in Hollywood. His wife tried to keep him afloat, and he was hiding behind her. Everybody who knew anything about Freddie Fields came to despise him. He’s just as guilty as the other one who put a bullet in his head.

  Judy was only forty-seven when she died, but she looked much older. The years of abuse had taken their toll on her tiny, frail body. Her death made international front-page headlines, and more than twenty-two thousand mourners filed past her glass-covered coffin at the Frank E. Campbell Funeral Home on Madison Avenue. James Mason, Judy’s costar in A Star Is Born, gave the eulogy at her funeral on June 27, which I attended with the children. “I traveled in her orbit only for a while, but it was an exciting while and one during which it seemed that the joys in her life outbalanced the miseries,” Mason said in that magnificent voice of his. “Her special talent was this: she could sing so that it would break your heart. What is a tough audience? A tough audience is a group of high-income-bracket cynics at a Hollywood party. Judy’s gift to them was to wring tears from men with hearts of rock.”

  Judy Garland was a very rare mix of shattered nerves and insecurity, self-doubt, self-destructiveness, and suicidal tendencies—but also true genius. She was, to me, the greatest talent who ever lived.

  I found it so easy to separate Judy the artist from Judy the person. The latter always came first, because she was so special as a person, so loving, especially to me. She really was truly in love with me, and I knew it. Every move I made, she wanted to know where I was. And she missed the sound of my voice, just like I missed hers. At least when she was herself.

  Despite whatever bad things happened between us, I could never fall out of love with Judy. If anyone tried to save a woman who was breaking apart, I did. I know that I did the best I could do, and it still wasn’t enough.

  People used to say that Sid Luft was this Svengali who took over Judy Garland’s life, but that’s a lot of crap. I was no more a Svengali than any other husband. I was just a husband who loved his wife and tried to do what was best for her. That’s all I was. I didn’t tell her what to do or what not to do; Judy was always an independent woman who knew what she wanted and went after it. I invented things for her, though. And she respected my notions and thoughts about show business. I had proven myself to her by the things that I had done for her career. I was in love with her, she was in love with me, and that’s the way it was.

  Index

  A

  A-20 bombers, 102, 116, 127, 135–139

  Academy Awards, 297, 301–302, 401

  Aerophonics Electronics Corporation

  company formation, 372

  interested parties, 382, 386, 389–390, 424–425

  Luft’s involvement, 389, 397, 404, 424

  Agins, Bob, 3, 29, 157, 198

  Albee, Edward, 11

  Alcoholics Anonymous (AA), 284, 294, 306–307

  Alexander, Shana, 401–402

  Allen, Fred, 203

  Allen, Gracie, 69, 73, 260

  Allen, Herb, 416

  Allen, Peter, 439

  Alperson, Eddie, 201, 209–210, 233, 372

  Alsop, Carlton, 7–8, 18, 19, 21, 164, 228

  Alton, Bob, 20, 409

  Alvarado, Ann. See Warner, Ann

  Alves, Vern, 218, 293, 352

  Andy Hardy Meets Debutante (film), 5

  Annie Get Your Gun (film), 16, 19–20

  aquacades, 79–80

  Arbick, Harry, 118–119

  Arlen, Harold, 285

  Armour Villa Park, 39, 43

  Arnaz, Desi, 13, 295

  ATC (aircraft delivery company), 120, 121, 122–124

  Auberge du Père Bise, 384–385

  Aubrey, James, 65

  Austria, 72–73

  Avedon, Richard, 288, 321–322

  B

  Bacall, Lauren (a.k.a. Betty Bogart), 258, 278–279, 280, 301, 309, 314

  Bad Gastein, Austria, 72

  Baker, Josephine, 24

  Ball, Lucille, 152, 295

  Bankhead, Tallulah, 205

  Bantam (car), 98

  Bari, Lynn

  career, 95, 134, 144–145, 149

  and child support, 163, 349–350

  death of baby, 147

  and Luft’s career, 25, 133, 146, 149

  Luft’s divorce from, 175, 201, 219, 234

  relationship with Luft, 15, 132–133, 142, 146, 147–148, 149, 151

  Barker, Lex, 258–259

  Baruch, Bernard, 206

  Begelman, David

  abandonment of JG, 437

  at Columbia Pictures, 447

  death, 447

  financial management, 415–416, 417–419, 420, 421–424

  gambling habits, 415–416

  and JG’s career, 395–397, 402, 415

  and JG’s work schedule, 404–405

  lawsuit against, 437–438, 444

  offer to Luft, 425–426

  reconciliation ploy, 414–415

  relationship with JG, 411–412, 419

  Bellamy, Ralph, 203

  Bennett, Tony, 429

  Benny, Jack, 69, 73, 205, 260, 261

  Benny, Mary, 69, 73, 260

  Benzedrine, 215

  Bergen, Polly, 392

  Berkeley, Busby “Buzz,” 19–20, 228

  Berkson, Eleanor Lambert, 25–26, 256

  Berkson, Seymour, 25–26

  Berlin, Irving, 19, 205, 217, 259

  Beverly Hills, California, 90

  Billingsley, Sherman, 24

  Bir Hakeim (horse), 167–170

  Bishop, Joey, 280

  Bishop, Lee, 137

  Björling, Jussi, 364–365

  Blangsted, Folmar, 298

  Bogarde, Dirk, 380, 408

  Bogart, Betty (a.k.a. Lauren Bacall), 258, 278–279, 280, 301, 309, 314

  Bogart, Humphrey, 258, 278–280, 309, 314, 331

  Bokum, Richard, 65

  Bolling, Jim, 62, 63

  “Born in a Trunk” (Gershe), 285–286, 295, 346

  Born in Wedlock (film project), 332, 334–335

  Boston Common show, 443

  Bounty Hunter, The (film), 255

  Breese, Vance, 140

  Bremer, Lucille, 144, 332

 
; Brice, Fanny, 171–172, 173–174

  British tours

  Dominion engagement, 344, 345

  London Palladium, 171–172, 174, 178–181, 191, 345, 387

  Manchester, 388–389

  raising funds for, 341–342, 343

  Royal Variety Gala, 391

  Scotland/Ireland, 185–187, 189–190

  Broadway Melody of 1938, 5, 27, 91, 96

  Bronxville, New York, 33–34, 52–53

  Bubbles, John, 367

  Burnett, W. R., 3

  Burns, George, 69, 73, 261

  Burton, Richard, 279, 381, 398

  Bushkin, Joey, 322

  By Myself (Bacall), 280

  C

  Caesars Palace, 443

  California Country Club, 129

  Callas, Maria, 366

  Camp Jened, 54–56

  Capucine, 280, 314

  Carnegie Hall, 398–399

  Carroll, Harrison, 150

  Cassini, Igor, 224

  Cathcart, Jack, 217

  Cawthray, Johnny, 80, 81–84

  Cerdan, Marcel, 28

  Chasen, Dave, 101

  Chasin, George, 264

  Chastain, Tommy, 127–128

  Chevalier, Maurice, 267

  Child Is Waiting, A (film), 404

  CinemaScope, 281

  Circle M stud farm, 265, 267

  City of Hope (charity), 367

  Clift, Montgomery, 205

  Clover Field, 101, 102, 109

  CMA (Creative Management Associates), 395, 419, 421, 437, 444. See also Begelman, David; Fields, Freddie

  Cocoanut Grove, 360–361

  Cohen, Pony Boy, 84

  Coleman, Lester, 324, 406

  Columbia Pictures, 447

  Condolli, Joe, 81, 84

  Coogan, Jackie, 148, 153–154

  Coogan Act, 148

  Cooper, Gary, 306

  Cooper, Grant, 405, 417, 418, 421

  Cooper, Jackie, 148, 152, 421

  Copenhagen, Denmark, 446

  Cornero, Tony, 96, 99–100

  Corrigan, Doug “Wrong Way,” 49, 126–127, 129

  Coward, Noël, 190–191, 314, 380

  Crawford, Joan, 205

  Crosby, Bing, 144, 258

  Cuba, 92

  Cukor, George, 283–284, 298, 302

  Curran Theatre, 235

  Cushing, Charlie, 206, 208

  Custom Motors, 97–100, 101, 103

  D

  Damone, Vic, 429

  Dandolos, Nick “the Greek,” 305–306

  Dane, Pat, 94

  Danker, Lorena, 282

  Davis, Bette, 95

  Davis, Sammy, Jr., 238, 280

  Deans, Mickey, 445, 446

  “Dear Mr. Gable” lead-in, 96–97, 286

  Desjardins, Pete, 79

  DeSylva, Buddy, 130

  Dexamyl, 306

  DiCicco, Pat, 95, 149

  Dietrich, Marlene, 205

  Dietz, Jack, 149

  Dodge, Horace, 313

  Dominion performances, 341, 349

  Donahue, Jimmy, 75

  Donahue, Willie, 75

  Donat, Robert, 181–183

  Douglas, Donald, 139–140

  Douglas, Kirk, 306

  Douglas Aircraft, 124–125, 126

  Driller (horse), 347–348

  Dru, Joanne, 93

  drug use. See Garland, Judy, drug use

  Du Pont, Nick, 65, 121, 343

  Duber, Clyde, 411

  Durante, Jimmy, 203

  Durbin, Deanna, 388

  Dusenberg (car), 98

  E

  Ebbins, Milt, 397

  Eddy, Nelson, 97

  Edens, Roger, 197

  influence on JG, 13, 217

  and JG’s Palladium act, 174

  on JG’s performance, 398

  music written for JG, 27, 285–286, 367

  Edinburgh, Scotland, 188–189

  Edmonton, Ontario, 113

  electroshock therapy, 20, 273

  Evans, Roy, 98

  Every Sunday (film), 82

  F

  Fairbanks, Douglas, Jr., 382

  Falk, Peter, 280

  Falkoner Centret show, 446

  Feldman, Charlie, 280, 314

  Field, Sid, 191

  Fields, Freddie, 331

  abandonment of JG, 437

  financial management by, 415–416, 417–419, 420, 421–424, 448

  and JG’s career, 395–396, 402, 415

  and JG’s work schedule, 404–405

  lawsuit against, 437–438, 444

  at MGM, 447

  offer to Luft, 399–400, 425–426

  reconciliation ploy, 414–415

  talent agency, 390–392

  Finklehoffe, Freddie, 309

  Garland and, 6–7, 8–9, 10, 175–176, 208

  and horse racing, 175, 318–320

  in London, 379–380

  screenplay concept, 189

  fires, 274, 357

  Fisher, Eddie, 380–381, 405–406

  Fisher, John, 132

  Fisher, Marjorie Schuyler. See Bari, Lynn

  Flamingo Hotel, 351

  Fleishman, Lou, 78, 323

  Florence House (horse), 190, 215

  Flynn, Errol, 102, 246

  Ford, Anne, 333

  Ford, Glenn, 429–430

  Ford, Henry, II, 225, 332, 333–335

  Ford Star Jubilee (TV special), 315–316

  Foulds, Bert, 129–130

  Foy, Brynie, 145–146

  France, 190, 288–290

  Freddie Fields Associates, 391–392

  Freed, Arthur, 27

  French Leave (film), 154

  Friars Club, 236

  Froman, Jane, 203

  G

  Gable, Clark, 95, 96, 306

  Garland, Judy

  appearance, 8, 9–10, 23, 158

  childhood, 33, 160–161, 244–246, 361–362

  death, 446–447

  dependence on others, 161, 230, 253, 409, 445

  fear of flying, 177, 289, 294, 389

  financial problems, 29, 161, 222, 310, 341–342, 349, 420, 427–428, 436–437, 440–441

  in France, 288–290, 292–293

  move to London, 378–380, 386

  personality, 22–23, 27, 158, 312

  pregnancies, 198–199, 235, 238

  private nature, 17, 207, 308, 318

  storytelling ability, 159, 260, 260–261, 266–267, 382–383

  suicide attempts, 4, 18–19, 231, 253–254, 342–343, 435

  Garland, Judy, career

  award nominations, 226, 297, 301–302, 401

  childhood performances, 160–161, 245, 251, 361–362

  development of, 82, 171–172, 193–194, 209, 300, 330–331, 395–396, 401–402, 415

  final performance, 446

  health restrictions on, 370–371, 373, 386–387

  intensity of performances, 180, 205

  live audiences, 179–180, 186, 205, 345, 402–403

  London Palladium, 171–172, 174, 178–181, 345, 387

  Metropolitan Opera House, 366–368

  MGM audition, 249–250

  name change, 69, 245

  Palace Theatre, 203–207, 208, 213–214, 220–221

  presentation to Queen, 178, 391

  public image, 5, 9, 158, 181, 207, 209, 222, 229, 433

  return to work, 386–387, 388, 401–402

  reviews, 180, 206, 297, 368, 446

  talent, 4, 5, 7, 173–174, 278, 313, 448

  venue choices, 309–310, 342, 349, 351, 388

  voice, 22, 23, 69, 229

  Garland, Judy, drug use

  addiction, 248, 252–253, 270–271, 273–276, 326, 336, 410, 435

  admission of dependency, 8, 275, 306

  alcohol abuse, 306, 352, 354

  benders, 310–311, 325–326, 337, 341, 358

  clinic visits, 211, 293, 313, 326, 359

  desire to quit, 284, 294, 306–307, 353<
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  drug connections, 326, 352–353, 354

  during A Child Is Waiting, 404

  during Washington/Philadelphia tour, 342–343

  effect on performances, 270, 317, 322, 336–339, 433, 443

  hostile behavior, 353, 355, 356, 434–435

  hysterical episodes, 269–270, 289

  inability to care for children, 406, 434–435, 444

  long-term effects, 448

  overdoses, 400, 409, 433, 435, 446–447

  pressure from studios, 20, 215, 228

  Ritalin, 366, 408

  sober periods, 284, 322, 381, 389

  tolerance, 338, 447

  for weight control, 8, 20, 172, 276, 277, 315

  withdrawal cycle, 338–339, 356, 410

  Garland, Judy, health issues

  anxiety attacks, 16, 19–21, 214, 398

  depression, 214, 247–248, 252–254, 273, 317, 337, 355

  hospitalization, 21–22, 211, 400–401

  liver disease, 369–373, 389

  mental illness, 435, 448

  migraines, 20, 240, 273, 293, 310, 336

  numbness, 241

  PMS, 214, 242, 273, 325

  shock treatments, 20, 273

  weight control, 17, 172, 173, 181, 194, 197, 211, 212–213, 240, 276, 277, 315, 322, 330, 331, 362–364

  weight loss, 173, 437, 445

  Garland, Judy, relationships

  with Begelman, 411, 419

  with children, 190, 226, 238, 247, 301, 350–351

  custody of children, 407–408, 423, 434–435

  divorce from Luft, 401, 405, 410–411, 414, 435

  divorce from Minnelli, 175, 198, 223

  family background, 243–245, 309

  letters to Luft, 320, 327, 339, 353, 377–378, 414

  with Luft, 12, 15–16, 161–167, 197–198, 219, 327, 356–358, 374, 380, 396, 407, 413–414, 420, 442, 444, 448–449

  marriage to Luft, 235–236

  marriage to Minnelli, 13–14, 15

  with mother, 18, 173, 230–232, 249, 251–252, 257–258, 361–362

  sense of family, 217–218, 324

  social life, 207–208, 235, 238, 260–261, 278, 280, 309, 319

 

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