By the time of the film’s events, Garland is on hard times financially and must leave her children in order to earn money in London.Īfter a short-lived marriage to American actor Mark Herron in 1965, Garland met nightclub manager Mickey Deans, portrayed in Judy by Finn Wittrock. At their divorce proceedings in 1965, Garland accused Luft of domestic abuse and dependence on alcohol, eventually winning custody of their two children Lorna and Joey.
The pair would separate after 11 years of marriage in 1963.
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Luft (portrayed in the movie by Rufus Sewell) would become Garland’s manager, engineering her return to the stage and her heralded comeback in 1954’s A Star Is Born, for which Garland received an Academy Award nomination for Best Actress. She would also meet Sidney Luft, “a somewhat questionable man-about-town with a questionable past,” according to Petersen. The early 1950s brought much change for Garland - she would separate from Minnelli and negotiate a release from her contract at MGM, where her career had been marked by suspensions, publicized suicide attempts and struggles with drugs. Her second was to director Vincent Minnelli in 1945, after he directed her in Meet Me in St. The first of Garland’s five marriages was at age 19, to composer David Rose. Using notes from a partial memoir written by Garland herself, former TIME writer Gerald Clarke writes in Get Happy: The Life of Judy Garland that “between the ages of sixteen and twenty, Judy herself was to be approached for sex - and approached again and again,” by Mayer himself and other studio executives. One biography of Garland also alleged that she was sexually harassed by Mayer, starting around the time when The Wizard of Oz was released, when Garland was 16. “My life was a combination of absolute chaos and absolute solitude,” Garland later said, reflecting on her unusual, and troubled, adolescence. Mayer himself, insisted that she “reduce.” One widely-circulated anecdote tells of Garland attempting to order a normal lunch at the studio canteen, only to be brought a bowl of soup and a plate of lunch by staff. Indeed, tabloid gossip magazines reported at the time that studio minders at MGM, as well as Louis B. In the film, she is photographed sharing a milkshake with Rooney, but she’s not allowed to eat the food on the table between them despite expressing her hunger.
“She didn’t look like the rest of those MGM stars…she becomes this kind of avatar for the rejected, not sexy enough, not pretty enough person,” said Petersen on a 2014 episode of film historian Karina Longworth’s podcast You Must Remember This. Her on-screen storylines and frequent partnership with fellow teen actor Mickey Rooney would often reflect this status, with Garland’s girl-next-door character harboring some kind of unrequited crush on Rooney’s all-American boy. Unlike other glamorous actors of the time, like Lana Turner, Garland was marketed as more of an “ugly duckling,” according to Petersen. These difficult times are depicted in flashbacks in the movie in one, Judy is made to celebrate her 16th birthday two months early, because that’s the only time that will work with her schedule, and she’s not allowed to go anywhere near her cake. These early MGM days saw the beginning of Garland’s lifelong struggles with addiction, body image and mental health, largely fueled by the studio’s determination to mold her into a profitable box-office star. Mayer signed her on the spot without a screen test. According to Hollywood legend, studio boss Louis B. It was at 13 that a young Judy would commit to a contract with MGM, one of the world’s biggest film studios.
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