Our Friend, Dorothy
Many people recognize Judy Garland as the timeless Dorothy Gale in The Wizard of Oz, skipping down the Yellow Brick Road with her ruby slippers and a heart full of dreams. While the film remains a colorful, iconic masterpiece, few realize the immense personal struggles that shaped Judy's life behind the scenes. Battling immense pressures, addiction, and heartbreak, Judy’s story is often painted as tragic—but it’s also one of incredible resilience. Time and again, she transformed adversity into triumph, reclaiming her career and captivating audiences with her raw talent and unshakable spirit. It’s this unwavering determination and ability to rise above that solidify her place as a true gay icon.
Judy Garland: From Frances Gumm to Hollywood Legend
Judy Garland, born Frances Ethel Gumm on June 10, 1922, in Grand Rapids, Minnesota, grew up surrounded by the spotlight. The youngest of three sisters, she was introduced to show business early, as her parents were vaudevillians who managed a local movie theater that featured live performances. Judy’s first stage appearance came at just two years old when she joined her sisters, Mary Jane and Dorothy Virginia, to sing "Jingle Bells" during a Christmas show. This small-town theater set the stage for what would become one of the most celebrated careers in entertainment history.
Vaudeville—a theatrical variety show combining comedy, music, dance, and more—was the foundation of Judy’s early career. In 1926, her family moved to California amidst rumors surrounding her father’s personal life, believed to involve relationships with young men. This connection to the gay community, whether through her father or the openness of theatrical circles, would become an enduring theme in her life and legacy.
Once in California, her mother took charge of her daughters' burgeoning careers, enrolling them in the Meglin Kiddies, a troupe of young performers. Frances and her sisters formed a singing act, The Gumm Sisters, and began appearing in short films like The Big Revue, where Judy sang her first solo. The trio toured the vaudeville circuit extensively, and in 1934, after a suggestion from performer George Jessel, they rebranded themselves as The Garland Sisters. Around this time, Frances adopted the name Judy, inspired by a popular Hoagy Carmichael song.
Judy’s big break came in 1935 when she auditioned for MGM at the age of 13. Her performance of "Zing! Went the Strings of My Heart" and "Eli, Eli" impressed executives so much that she was signed to the studio without a screen test—a rarity for a young performer. It was the beginning of a meteoric rise that would see her transcend her vaudeville roots to become an enduring Hollywood icon.
Growing Pains at MGM: A Star Under Pressure
Judy’s early years at MGM were marked by both opportunity and relentless scrutiny. At just 13 years old, she was caught in a liminal space—too old for child roles but not yet mature enough for adult ones. Compounding this was the studio’s obsession with her physical appearance. Standing just under five feet tall with a wholesome, girl-next-door look, Judy did not fit MGM's standard of glamorous leading ladies. This led to relentless criticism and modifications to her appearance, including dental caps, rubberized discs to reshape her nose, and plain costumes designed to downplay her natural charm.
The pressure was amplified by constant comparisons to MGM peers like Ava Gardner and Lana Turner, whose conventional beauty conformed to Hollywood ideals. Even studio head Louis B. Mayer reportedly referred to her disparagingly, a cruel blow to the self-esteem of a young teenager. Judy’s struggles with self-image were deepened by the studio's demands for her to diet, going as far as limiting her meals to little more than soup and lettuce. These extreme measures laid the foundation for lifelong insecurities.
During this period, MGM also subjected Judy and other young performers to a grueling cycle of amphetamines to keep up with the rigorous production schedules and barbiturates to help them sleep. This toxic routine contributed to the addiction struggles that would follow Judy into adulthood.
Early Film Success: From Supporting Roles to Stardom
In 1936, Judy made her feature-length film debut in Pigskin Parade, a football-themed musical comedy produced by Fox. Though she was billed tenth in the cast, the performance showcased her undeniable talent and marked the beginning of her journey toward stardom. Around this time, Judy also gained the attention of MGM executives with a heartfelt rendition of "You Made Me Love You (I Didn’t Want to Do It)," performed as a tribute to Clark Gable at his studio-arranged birthday party. This performance solidified her place as a rising star in Hollywood.
MGM found a winning formula in 1937 by pairing Judy with fellow child actor Mickey Rooney in a series of highly successful "backyard musicals." These films, including Thoroughbreds Don’t Cry (1937), Love Finds Andy Hardy (1938), Babes in Arms (1939), and others in the Andy Hardy series, became box office hits. Judy’s charm and vocal talent complemented Rooney’s energy, and together, they formed one of Hollywood’s most beloved on-screen duos. These films not only endeared Judy to audiences but also cemented her status as a major player in MGM’s golden era of musicals.
The Role That Changed Everything: The Wizard of Oz
Judy’s career-defining moment came in 1938 when, at just 16 years old, she was cast as Dorothy Gale in The Wizard of Oz. While her performance in the iconic film remains legendary, she wasn’t MGM’s first choice for the role. The studio initially pursued Shirley Temple, but negotiations with 20th Century Fox fell through. Deanna Durbin was also considered but unavailable, paving the way for Judy’s casting. Despite these early hesitations, her portrayal of Dorothy became one of the most enduring performances in film history.
Judy’s transformation into Dorothy included several creative decisions. Originally outfitted with a blonde wig, she was later styled with her natural brown hair, and her iconic blue gingham dress was chosen for its ability to make her appear younger. The film itself was a massive undertaking, with a production budget of $2 million (around $31 million today) and promotional costs of $4 million (about $62 million today). Despite its critical acclaim and lasting cultural impact, The Wizard of Oz didn’t turn a profit until its re-release in the 1940s due to the discounted ticket prices for children.
Nevertheless, the film catapulted Judy to superstardom. In 1939, she received her only Academy Award, the Juvenile Award, for her performances in The Wizard of Oz and Babes in Arms. This recognition made her the fourth recipient of the award and one of only 12 in history to earn the honor. Afterward, Judy became one of the most bankable actresses in Hollywood.
But The Wizard of Oz is more than just a landmark in Judy’s career; it is also deeply embedded in queer culture. The term “friend of Dorothy” emerged as a euphemism for gay men, tied to Judy’s portrayal of Dorothy and the film’s themes. Dorothy’s journey reflects a universal longing for acceptance, as she escapes a stifling reality in Kansas for the vibrant, fantastical world of Oz—a place filled with characters who embrace their differences.
The film’s camp aesthetic, with its exaggerated performances and gender-bending characters, also resonates with LGBTQ+ audiences. Dorothy’s immediate acceptance of her outcast companions—the Scarecrow, Tin Man, and Cowardly Lion—mirrors the way many queer individuals form chosen families. The Cowardly Lion’s effeminate mannerisms and the absence of a conventional romance further align the film with queer sensibilities.
At the heart of this cultural connection is the film’s signature song, “Somewhere Over the Rainbow.” Its themes of longing and hope have made it an anthem for the LGBTQ+ community and are said to have inspired the rainbow flag as a symbol of gay pride.
Transitioning to Adulthood: Judy Garland’s Next Chapter
As Judy transitioned into adulthood, her career and personal life grew increasingly complex. In 1940, she appeared in Andy Hardy Meets Debutante, Strike Up the Band, and Little Nellie Kelly. The latter marked a significant milestone as her first adult role, where she portrayed both a mother and daughter. This dual role challenged her acting skills, requiring an accent, her first on-screen adult kiss, and the only death scene of her career. Co-star George Murphy later remarked on the awkwardness of the kiss, likening it to a mismatched pairing.
During this time, Judy also experienced her first adult romances. She had a serious relationship with bandleader Artie Shaw, who ultimately left her to elope with Lana Turner. Soon after, she began seeing composer David Rose. On her 18th birthday, Rose gave her an engagement ring, though their relationship faced obstacles. MGM, wary of scandal, intervened because Rose was still married to actress Martha Raye. They postponed their engagement until his divorce was finalized, but during the interim, Judy had a brief affair with songwriter Johnny Mercer. She and Rose eventually married in 1941.
However, their relationship was tumultuous. Judy became pregnant, but under pressure from her mother and MGM, she had an abortion, as the studio disapproved of the pregnancy. Their marriage ended in separation in 1943, followed by a divorce in 1944. Around this time, she also had a brief relationship with actor Tyrone Power and underwent a second abortion.
Despite these personal challenges, Judy continued to shine on screen. Films like For Me and My Gal and Presenting Lily Mars allowed her to embrace more sophisticated roles, shedding some of the "girl-next-door" image that MGM had carefully crafted. Styled in elegant gowns with her hair lightened and pinned up, Judy began to exude a more glamorous persona. Yet, she remained self-conscious about her appearance, never fully escaping the insecurities ingrained during her early years at the studio.
In 1944, Judy starred in one of her most celebrated films, Meet Me in St. Louis. Directed by Vincent Minnelli, the movie became a landmark in her career, allowing her to step into the role of a true leading lady. The film, known for the classic song "Have Yourself a Merry Little Christmas," showcased Judy’s ability to command the screen as a mature and attractive star.
Minnelli, who insisted that Dorothy Ponedel be assigned as Judy’s makeup artist, played a pivotal role in refining her on-screen image. Ponedel’s work included reshaping Judy’s eyebrows, adjusting her lip line, and eliminating the studio-imposed nose discs and dental caps. Judy was so pleased with the transformation that she insisted Ponedel work on all her subsequent films at MGM.
Although Judy and Minnelli initially clashed during production, they eventually began a romantic relationship and married on June 15, 1945. The following year, on March 12, 1946, Judy gave birth to their daughter, Liza Minnelli, who would go on to become a gay icon in her own right. Notably, Vincent Minnelli was rumored to be bisexual, adding another layer to Judy’s lifelong connection to LGBTQ+ culture.
The Struggles of Stardom: Judy Garland’s Tumultuous Late MGM Years
By April 1948, Judy’s immense talent and workload had taken a severe toll on her mental health. While filming The Pirate, she suffered a nervous breakdown and was admitted to a private sanatorium. Though she managed to complete filming, the pressures of her career led to her first suicide attempt in July 1948, where she made minor cuts to her wrist with broken glass. Following this incident, she spent two weeks at the Austen Riggs Center, a psychiatric hospital in Stockbridge, Massachusetts.
Despite these challenges, Judy delivered a triumphant performance in Easter Parade (1948) alongside Fred Astaire, a film that became a major success. MGM planned to pair the duo again in The Barkleys of Broadway, but Judy’s deteriorating health disrupted production. Struggling with alcohol and prescription pill use, she frequently missed filming. A doctor advised she could only work in short increments with extended rest periods, prompting MGM to suspend her. Ginger Rogers ultimately replaced her in the film.
When Judy returned to work in 1949, she was cast as Annie Oakley in Annie Get Your Gun. However, her battles with depression persisted, and she began undergoing electroconvulsive therapy. Her tardiness and absences from the set led to her dismissal, with Betty Hutton stepping in to take over the role. During this period, she spent time at Peter Bent Brigham Hospital in Boston, where she was weaned off medication and gradually restored to better physical health.
Later that year, Judy appeared opposite Gene Kelly in Summer Stock. Although her weight had fluctuated due to her time in treatment, studio pressure to slim down led her back to using diet pills, resulting in a rapid 15-pound weight loss. While Summer Stock would become one of her standout performances, it was also her final film for MGM.
In 1950, Judy was cast in Royal Wedding, but she failed to report to the set. On June 17, MGM suspended her contract, and the dismissal led to her second reported suicide attempt. Though her injuries were minor, rumors swirled, with the public being misled to believe she had made a more serious attempt. Judy later reflected on this period in Photoplay Magazine, admitting she had been overwhelmed by despair, saying, “I wanted to black out the future as well as the past. I wanted to hurt myself and everyone who had hurt me.”
In September 1950, after 15 years at MGM, Judy parted ways with the studio. She was only 28 years old but had already endured profound personal and professional turmoil. Speculation circulated that she was financially destitute, which only added to the challenges she faced.
During this dark time, Bing Crosby extended a lifeline, inviting Judy to appear on his radio show, The Bing Crosby Chesterfield Show, on October 11, 1950. Initially hesitant and fearful of public scrutiny, Judy trembled backstage, worried about the audience's reaction. In an act of kindness, Crosby addressed the crowd before her entrance, saying, “We got a friend here; she’s had a little trouble recently...she needs our love. She needs our support.” The audience erupted in applause as Judy took the stage, their enthusiasm reinvigorating her spirit.
Judy Garland’s Career Comebacks: A Star Reborn
After her 1950 radio appearance with Bing Crosby, Judy began her remarkable journey toward professional resurgence. She made eight appearances on Crosby’s show that season, an experience credited with helping to reinvigorate her career. From there, she embarked on a four-month concert tour across Britain and Ireland, marking the first of her legendary comebacks. Critics heralded her performances as a revival of vaudeville tradition, with audiences offering rapturous ovations, particularly during her London shows.
Her return to the U.S. stage was equally triumphant. On October 11, 1951, Judy performed at the Palace Theatre in Manhattan, shattering previous box office records for the venue. This achievement earned her a special Tony Award for her contributions to the revival of live theater.
In her personal life, 1951 was also a period of transition. Judy and her second husband, Vincent Minnelli, divorced that year. On June 8, 1952, she married Sidney Luft, her tour manager and producer. The couple welcomed two children: daughter Lorna Luft in November 1952, and son Joey Luft in 1955.
Judy’s much-anticipated Hollywood comeback came with the 1954 remake of A Star is Born. Produced by Judy and Luft’s company, Transcona Enterprises, and financed by Warner Bros., the film became a defining moment in her career. However, production was fraught with challenges, echoing difficulties from her later MGM years. Judy’s health struggles caused delays, leading to clashes with Warner Bros. executive Jack L. Warner over the film’s ballooning costs.
Despite these hurdles, A Star is Born premiered on September 29, 1954, to widespread critical acclaim. The film introduced audiences to The Man That Got Away, a song that quickly became a Judy signature—and a gay anthem. While the film was celebrated by critics and moviegoers alike, it faced financial challenges due to significant cuts imposed after its initial release. Approximately 30 minutes of footage was removed at the insistence of theater operators, which frustrated audiences and hurt the film’s financial performance. Although A Star is Born grossed over $6 million, it did not recoup its costs, leaving Judy and Luft’s production company in financial difficulty.
Still, Judy’s performance earned her an Academy Award nomination for Best Actress. Although widely expected to win, she could not attend the ceremony, having recently given birth to her son Joey. A television crew had been set up in her hospital room to capture her acceptance speech. In a dramatic upset, Grace Kelly won for The Country Girl, leaving the crew to pack up in silence before Kelly even reached the stage. Many fans and critics regard the loss as one of the Academy’s most infamous snubs. Judy did, however, win the Golden Globe for Best Actress in a Musical.
In 1955, Judy appeared in several TV specials and embarked on a successful run at the New Frontier Hotel in Las Vegas, earning $55,000 per week—the highest salary ever paid to a performer on the strip at the time. Despite a brief bout of laryngitis, during which Jerry Lewis substituted for her, the engagement was extended due to overwhelming demand. Her triumphant return to Las Vegas cemented her status as one of the era’s premier live entertainers.
That same year, Judy released her first solo album, Miss Show Business, marking her transition from film soundtracks to a recording career. This was followed by a series of well-received albums, including Judy (1956), Alone (1957), Judy in Love (1958), and The Letter (1959).
In November 1959, Judy faced a serious health scare when she was hospitalized and diagnosed with acute hepatitis. Doctors predicted she had only five years to live and warned she would likely never sing again. Surprisingly, Judy felt a sense of relief, as the diagnosis seemed to lift the enormous pressure she had lived under for most of her life.
However, defying medical expectations, Judy made another astonishing comeback. In August 1960, she returned to the stage at London’s Palladium, where she was met with overwhelming warmth and support from audiences. That same year, she released the album That’s Entertainment, reaffirming her resilience and unparalleled talent.
Carnegie Hall and Beyond
On April 23, 1961, Judy delivered a performance that would become one of the defining moments of her career. Her concert at Carnegie Hall is often hailed as the greatest night in show business history. This extraordinary event was recorded and later released as a two-record album on July 10, 1961.
The album, Judy at Carnegie Hall, was a commercial and critical triumph. Certified gold, it remained on the Billboard charts for an impressive 95 weeks, including four weeks at number one. The recording also won four Grammy Awards, including the coveted Album of the Year and Best Female Vocal Performance, solidifying Judy’s place as a musical legend.
What makes the performance particularly memorable is how Judy interacted with her audience. Between her iconic numbers, she shared candid, self-deprecating anecdotes, often laughing off moments of media scrutiny. While her humor endeared her to the crowd, it also offered a poignant glimpse into the personal struggles she faced behind the scenes, adding an emotional depth to an already legendary performance.
Building on the momentum of her Carnegie Hall success, CBS offered Judy an unprecedented $24 million contract in 1963—equivalent to about $167 million today—to host her own variety show, The Judy Garland Show. Running through 1964, the series showcased her incredible talent and charisma, though its production was fraught with challenges. Despite its short run, the show remains a cherished part of her legacy, featuring unforgettable performances and appearances by notable guests.
During the 1960s, Judy’s status as a gay icon also became increasingly visible. When a reporter asked her about her gay following, Judy responded with characteristic wit and grace:
"I couldn’t care less. I sing to people!"
Personal and Professional Turmoil in the 1960s
By 1963, Judy’s life and career faced increasing turbulence. During this period, she separated from her husband, SidneyF Luft, alleging physical abuse and accusing him of trying to take their children by force while intoxicated. She sued for divorce on grounds of mental cruelty. Around the same time, Judy began a six-month affair with actor Glenn Ford, adding further complexity to her personal life.
In late 1964, Judy performed three concerts in Australia, with her final show in Melbourne becoming infamous. The performance began an hour late, prompting an already frustrated audience to heckle and boo her, suspecting she was intoxicated. Judy fled the stage after only 45 minutes, resulting in scathing press coverage that marred her reputation.
Adding to the drama, her tour promoter, Mark Herron, claimed they had married aboard a freighter off the coast of Hong Kong. However, Judy’s divorce from Luft was not finalized until May 19, 1965, making Herron's announcement premature. Once her divorce was finalized, Judy and Herron officially married on November 14, 1965. The union, however, was short-lived—they separated five months later, with Judy accusing Herron of abuse, which he denied, claiming he acted in self-defense.
Following Judy’s separation from Sidney Luft, she signed with new agents since Luft had managed her career for much of the 1950s and early 1960s. Unfortunately, these agents mismanaged her finances, embezzling her earnings and leaving her with personal debts and an IRS bill totaling approximately $500,000. The IRS placed tax liens on her Los Angeles home, her Capitol Records contract, and other income sources. As a result, Judy was forced to sell her home for far less than its value, deepening her financial struggles.
In 1967, Judy faced further setbacks when she was cast in Valley of the Dolls. Reports of poor treatment by director Mark Robson and ongoing challenges ultimately led to her dismissal from the film. That same year, she embarked on a 27-show engagement at New York’s Palace Theatre. While the performances were well-received, federal tax agents seized most of her earnings, compounding her financial woes.
By early 1969, Judy’s health had begun to decline noticeably. Despite her struggles, she continued performing, including a five-week run at London’s Talk of the Town nightclub. During this period, her divorce from Herron was finalized on February 15. A month later, on March 15, she married nightclub manager Mickey Deans, her fifth and final husband.
That same month, Judy gave what would be her last concert appearance in Copenhagen. While she remained a beloved performer, these final years were marked by mounting personal and professional challenges, setting the stage for the tragic end of her extraordinary life.
Judy Garland's Death and Legacy
Judy's life came to a tragic end on June 22, 1969, at the age of 47. She was found dead in the bathroom of her rented house in Cadogan Lane, Belgravia, London, from what was ruled an accidental barbiturate overdose. The circumstances surrounding her death suggested that her struggle with substances had been prolonged rather than acute.
While there was some speculation about her liver health or even bulimia contributing to her demise, the true cause remains ambiguous. Her co-star from The Wizard of Oz, Ray Bolger, remarked at her funeral, "She just plain wore out."
Despite her immense success throughout her career, Judy's financial situation at the time of her death was dire. Her estate was valued at just $40,000, a stark contrast to the millions she had earned. Years of mismanagement by her representatives, combined with her generosity toward her family and various causes, left her deeply in debt. After her death, her daughter Liza Minnelli, with the help of Frank Sinatra, worked to settle her mother's debts. In 1978, a significant auction of Judy's personal belongings raised funds for her heirs.
Judy's life story, filled with immense talent, personal struggles, and tragedies, has led many to regard her as a tragic figure. Her hardships, particularly in her relationships, resonated with many in the LGBTQ+ community, who identified with her pain and perseverance. In 1969, Esquire magazine suggested that homosexuals often identify with suffering, as they too understand persecution and hardship, much like Judy. This connection to suffering contributed to her status as a gay icon, though her daughter Lorna Luft later expressed her mother's discontent with this label, asserting that while Judy had endured challenges, she was far more than just a tragic figure.
At the time of her death, Judy had appeared in more than 35 films, leaving behind a lasting legacy. She was posthumously named the eighth greatest female star of Golden Age Hollywood by the American Film Institute and was awarded the Grammy Lifetime Achievement Award in 1997. Several of her recordings, including “Somewhere Over the Rainbow,” have been inducted into the Grammy Hall of Fame, with the song itself ranking as the number one movie song of all time in the AFI's 100 Years...100 Songs list.
A Symbol of Resilience and Inspiration for the LGBTQ+ Community
Judy Garland’s legacy as a gay icon is about more than the tragic narrative that the media often focuses on. While it's undeniable that she faced heartbreaking moments throughout her life, it's her resilience in the face of adversity that truly resonates with the LGBTQ+ community. Despite the lows she endured, Judy experienced numerous comebacks and career highlights, each one marking a triumph over hardship. This ability to rise again, time and time again, is what makes her story so inspiring.
For many gay men, Judy represents the idea that no matter how difficult life can get, after hardship comes new opportunities. Her life teaches us that we can overcome our struggles and create something new and even greater than we ever imagined. Judy’s ability to navigate personal battles while continuing to achieve extraordinary things serves as a powerful reminder that our toughest moments don’t define us—they can shape us into stronger, more resilient individuals.
As we reflect on her life, it’s also a call to look within ourselves. It’s not always easy, but facing our hardships—no matter how uncomfortable—allows us to better understand where we are and what we need to move forward. And when we find ourselves stuck, perhaps it’s time to lean on our chosen family and support systems, just as Dorothy did in The Wizard of Oz. Just as Judy found strength in the love and loyalty of her family and friends, we too can find power in connection, unity, and support.
And remember. Every day is all we have, so you've got to make your own happiness.
For more information on this topic, listen to Episode 58. Gay Icons: Our Friend, Dorothy.
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