The brightest star to emerge from MGM’s golden age was Judy Garland! Her voice conveys such emotional depth that you can’t help but be captivated. This exceptional quality was present even when she was a child. Couple this with her innate acting abilities and charisma, and you have showbusiness gold. I don’t know when I first became aware of Judy, because I don’t remember a time when I haven’t enjoyed watching her films or listening to her music.
Judy was born Frances Ethel Gumm, into a Vaudevillian family in Grand Rapids Minnesota on the 10th of June 1922. By all accounts her father was also a wonderful singer. From the age of three she performed in The Gumm Sisters trio with her older sisters. Throughout her childhood she learned her craft on the circuit and at dance classes, and being supremely talented became the focus of the act. Although the family moved to Los Angeles seeking opportunities to work in film, perhaps it was inevitable that Judy would be successful.
Judy’s voice exuded purity and innocence during her adolescence, as epitomised in Somewhere Over The Rainbow from 1939’s The Wizard Of Oz. Blessed with an astonishing vocal range, when she was a young woman her sound matured. This is exemplified by her performances in 1942’s For Me And My Gal, 1944’s Meet Me In St. Louis, 1946’s The Harvey Girls, 1948’s Easter Parade, and 1950’s Summer Stock.
Judy’s vocal powers reached their peak during the 1950s and 1960s when she started recording with Capitol Records. One of my favourite albums is The Best Of The Capitol Masters – The London Sessions. During this period she also toured in worldwide concerts; notably at the London Palladium, Palace Theatre, and Carnegie Hall.
Towards the end of her career, Judy’s voice diminished in stature but she retained her ability for storytelling. This is embodied in her poignant rendition of Why Can’t I? from the CD Classic Judy Garland The Capitol Years: 1955 – 1965. Listening to it as I’m writing this post almost brings tears to my eyes. Even when she was below par Judy ran rings round other entertainers.
After her MGM contract ended, Judy made a comeback appearance as Esther Blodgett/Vicki Lester in 1954’s A Star Is Born, alongside James Mason portraying Norman Maine. I think it’s her finest film performance! The Man That Got Away is breathtakingly brilliant, it’s as though she’s singing for her life. The Born In A Trunk sequence is like a standalone showcase.
The plot concerns an alcoholic actor Norman and an aspiring performer Esther. He meets her after she saves him from embarrassing himself whilst drunk, and there’s an immediate connection. Norman recognises Esther’s talent and gives her the confidence to aim higher. It pays off when a studio gives her the stage name Vicki Lester for her debut lead role. Ironically this is when it becomes apparent that Norman’s career could stall.
They get married, but problems begin when her star is in the ascent and his alcoholism deteriorates. The situation worsens when Vicki receives critical acclaim, and she feels torn between her personal life and her professional life. On more than one occasion Norman humiliates himself publicly, destroying his career in the process. Finally he drowns himself because he feels he’s an obstacle to Vicki’s success. Norman believes this act will allow her to fulfil her potential.
Much has been written about Judy’s battle with drugs. This addiction was created in her at a young age by others wanting to keep her working for inhumanely long hours. Child exploitation of that nature would be illegal today. Judy endures because she had exceptional talent yet lived a tumultuous life. This contradiction can be really appealing. Quite simply she’s beyond compare.