I’m very sorry to lose her because she is great

Following their successful collaboration on The Pirate (1948), Gene Kelly and Judy Garland were to star together again in Charles Walters' Easter Parade (1948). Before filming began, however, Kelly broke his ankle and Fred Astaire —in retirement after Blue Skies (1946)— was asked to replace him (at Kelly's suggestion). Anxious to come out of retirement and to work with Judy, Astaire didn't hesitate for a moment to accept the role. While filming Easter Parade,  he and Judy got along famously and proved to be a wonderful match. Astaire later recalled: "Of course, Judy was the star of the picture. And it's a joy to work with somebody like Judy, because she's a super talent, with a great sense of humor. She could do anything. She wasn't primarily a dancer, but she could do what you asked her to do .... [Our numbers together] remain with me as high spots of enjoyment in my career. Judy's uncanny knowledge of showmanship impressed me more than ever as I worked with her."

Easter Parade was a big success, both critically and commercially. While the film was still in production, producer Arthur Freed was already working on a new project, The Barkleys of Broadway (1949) —also to be directed by Charles Walters— and again he wanted Astaire and Garland to play the leads. Astaire was elated to be working with Judy again and vice versa ("Fred put me completely at ease. He's a gentleman— and lots of fun to work with."). But while Judy was in great spirits during Easter Parade, after two weeks of rehearsals on The Barkleys her health —both physical and emotional— deteriorated and she kept calling in sick. Finally, on 18 July 1948, Judy was removed from The Barkleys and put on suspension.

Judy and Fred chatting on the set of Easter Parade

MGM needed a last-minute replacement for Judy Garland and contacted Ginger Rogers to see if she was available and interested in working with Astaire again. The two had worked together for six years and done nine films together (all for RKO) but with the 1939 The Story of Vernon and Irene Castle their partnership had ended. There had been rumours that the couple didn't part amicably, that they had been fighting and didn't even get along. These rumours, however, have always been denied by both Fred and Ginger. About their relationship Ginger said in her 1991 memoir Ginger: My Story: "Fred and I were colleagues, and despite occasional snits... we worked together beautifully ... we had fun, and it shows. True, we were never bosom buddies off the screen; we were different people with different interests." Delighted to be working with Fred again, Ginger accepted the role and, not having danced in years, worked very hard to get back into shape. Ginger's hard work eventually paid off, her dancing in The Barkleys being as good as ever (especially during the wonderful Bouncin' the Blues, one of my favourite Astaire-Rogers dance numbers; watch here). 

The Barkleys of Broadway, the only film Fred Astaire and Ginger Rogers did in colour, became a commercial success and also received positive reviews. In the end, Ginger was probably better suited for the role of Dinah Barkley than Judy Garland, considering the Barkleys are a long-lasting showbiz couple and the part called for an older actress (Ginger was eleven years older than Judy). Below: On the set of The Barkleys with (l to r) Fred Astaire, director Chuck Walters, Oscar Levant and Ginger Rogers.

In his autobiography Steps in Time (1959) Fred Astaire looked back on his re-pairing with Ginger Rogers with great fondness. However, others working on The Barkleys (including choreographer Hermes Pan) recalled a lack of enthusiasm in Astaire, who felt they were trying to get back something that couldn't be recaptured. In Brent Philips' biography Charles Walters: The Director Who Made Hollywood Dance (2014), Walters is quoted as saying: "It came as quite a shock to find out that Mr. Astaire was not too keen about Miss Rogers ... They got along well, [but] Fred complained about her incessantly ... He would say, for example, that he couldn't stand a woman who was taller than he was ... [Fred could be] a real nag." 

What seems certain is that Astaire had been terribly disappointed when Judy Garland dropped out of The Barkleys. Ginger Rogers also mentioned it in her memoir and even claimed Fred had a crush on Judy: "On the first day of work, I went down to the rehearsal hall to see Fred. He was sweet and friendly, but I could see he was slightly disappointed. I had learned that Judy Garland had originally been signed as his co-star. They'd just worked together on Easter Parade and I knew Fred had a slight crush on her." And Astaire's stand-in Joe Niemeyer commented: "I've never seen him as happy as he was during the making of Easter Parade. It's a wonderful story and a wonderful picture. But to him, the joy came from working with Judy, a girl whose own sense of timing and comedy and perfection is as intense as his. With Judy, the film was nothing but play [for him]." 

After their collaboration on The Barkleys fell through, Fred Astaire and Judy Garland got another chance to work together, this time on Royal Wedding (1951) when June Allyson dropped out due to pregnancy. But again, it was not to be. Once production on the film had started, Judy again kept calling in sick and was eventually fired from the film and replaced with Jane Powell. Easter Parade would remain Fred and Judy's only collaboration.

_____

Below is a small fragment of a letter, dated 1 August 1948, which Fred Astaire wrote to his good friend Jack Leach, jockey and trainer of horses. (Astaire had a passion for horseracing and Leach trained horses owned by Astaire). The segment deals with Judy Garland dropping out of The Barkleys and Ginger Rogers replacing her, with Fred clearly disappointed over the loss of Judy. 

If you're interested in reading the entire letter, which mostly deals with the subject of horses, click on the source link below the image. 

Source: National Horse Racing Museum

Transcript: 

August 1st [1948]

Dear Jack:-

Have been wanting to write but you know what happens when I start on a picture.

We’ve had complications & Judy Garland had to retire from the picture on acct. of illness. I’m very sorry to lose her because she is great – but Ginger Rogers has been brought in to replace her. I haven’t worked with Ginger for 8 years & it’s a lot of work for her to get back to dancing again. I just did a hell of a good picture “Easter Parade” with Judy. It’s a big hit, I think the biggest I’ve ever had. Well – nuts with pictures I want to know about your horses. How is Delerium? Hope he has held up well this year.

Judy Garland and Fred Astaire on the set of Easter Parade, in costume for their terrific act A Couple of Swells.

She is an extremely clever little artist

In September 1935, 13-year-old Judy Garland signed a seven-year contract with MGM at a starting salary of $100 a week. It would take some time, however, before Judy made her first feature film for the studio. Her debut film Pigskin Parade (1936) was on loan-out to 20th Century-Fox and her first MGM appearance was in the musical short Every Sunday (1936) with Deanna Durbin. It wasn't until 1937 that MGM finally put her into her first feature film, Broadway Melody of 1938, starring Eleanor Powell and Robert Taylor. In the film Judy sang You Made Me Love You (I Didn't Want to Do It) to a photograph of Clark Gable, her performance turning her into an overnight success. 

About a year earlier, in June 1936, while still waiting to be cast in her first film, Judy was sent by MGM on a promotional tour to New York City. It was her first visit to the Big Apple, during which she made several appearances on the Rudy Vallee radio show and recorded Stompin' at the Savoy with Decca Records (the first single she ever released). Furthermore, Judy paid a visit to MGM's New York offices, where she met executives like Nicholas Schenck and MGM representative Florence Browning.

Before Judy left for New York, Ida Koverman had given her a letter of introduction to take with her and give to Miss Browning at MGM. Koverman was executive secretary to MGM's boss Louis B. Mayer and is regarded as one of the most powerful women in Hollywood during the 1930's and 40's. She was a big supporter of Judy and was also the one who had convinced Mayer to sign her. Koverman's letter to Browning, in which she has nothing but good things to say about young Judy, is seen below. Also shown is a letter from Judy to Koverman after she had just arrived in New York as well as Koverman's reply. (Incidentally, in her letter to Browning, Koverman said that Judy was twelve years old although she was about to turn fourteen.)

Transcript:

June 1st, 1936

Dear Florence:

This will be presented to you by little Judy Garland, who is under contract to us. 

She is twelve years old and an extremely clever little artist. Her mother, who will be with her, plays her accompaniments, and I hope you will be able to arrange to hear her sing a few numbers. She is really a marvellous child. 

Her agent is taking her East to try to book her in some of the theatres, and I think it would be very wise to have someone connected with our office see the child before she gets into an opposition house. 

She sings very well and is an excellent dancer, and does the Eleanor Powell routines, and is a little genius.

In addition to this she is a dear little thing, and I am devoted to her. I know you will like her too.

Sincerely yours, 

Miss Florence Browning,

Metro-Goldwyn-Mayer Corporation,

1540 Broadway,

New York City.

Transcript: 

June 5, 1936

Dear Mrs. Koverman-

We arrived today in New York. I could hardly wait to write you to tell you how thrilled and dazed I am. 

We were at the M.G.M. offices today and saw Miss Florence, Mr. Rubin, Mr. Schenck and so forth. They were all so lovely to me. 

I hope my singing pleased them. 

Thank you so much for your letter to Miss Florence. It helped me so much and I sincerely appreciate it. 

As you have found out I certainly don't take any medles [sic] for writting [sic]. 

Please forgive it

Nothing else to say except thank you again

Sincerely yours

Judy

P.S Have you Jackie Copper's [sic] address? 

I forgot to get it before I left and he told me to be sure to write to him.

Please, if you have time, answer this.

Transcript:

June 8, 1936

My dear Judy:

I was very glad to get your nice little note, and to know you are having such a thrilling time. I was sure you would like Miss Florence Browning -- she is a very fine person, and I am sure also that your singing pleased them all.

We all miss you very much and certainly will be glad to see you when you return. Do write and let me know all that happens to you.

With kindest regards to your mother and Mr. Rosen [Judy's agent], and much love to yourself, I am 

Sincerely yours,

IRK (signed)

P.S. Jackie Cooper's address is 141 South Grand Avenue, Santa Monica.

Miss Judy Garland

Edison Hotel

47th and Broadway

New York City 

Source letters: Bonhams

Two days late but still — Happy 100th Birthday, Judy!

Ida R. Koverman

I'm sorry to have to tell you I'm hopelessly normal

By the summer of 1950, Judy Garland was overworked, dependent on pills and had already suffered a few nervous breakdowns. Her marriage to director Vincente Minelli was in serious trouble and would ultimately end in divorce in 1951. Despite having completed successful films like Easter Parade (1948) and In the Good Old Summertime (1949), Judy was largely discussed in the press in connection with her failures. She had been fired from The Barkleys of Broadway (1949), Annie Get Your Gun (1950) and Royal Wedding (1950) —due to her showing up late to the set and at times not showing up at all— to be eventually replaced by resp. Ginger Rogers, Betty Hutton and Jane Powell.

When the movie fan magazine Motion Picture announced in its June 1950 issue that Judy's film career was over, this not only evoked many reactions from her fans but also from the actress herself. Tired of all the negative gossip and the incorrect assumption that she was quitting films, Judy sent a letter to Motion Picture editor Maxwell Hamilton, assuring him that everything was okay and that soon she was to star as Julie in Show Boat. Judy's letter was published in Motion Picture in September 1950, the same month she and MGM parted ways after fifteen years. (The role of Julie LaVerne in Show Boat (1951) eventually went to Ava Gardner.)

While her film career wasn't over, from then on Judy would only make a handful of films, most notably A Star Is Born (1954) and Judgment at Nuremberg (1961). Sadly her problems continued and a barbiturate overdose ultimately led to her untimely death (at age 47) on 22 June 1969.

Judy Garland in New York, September 1950

This is the introductory text to Judy Garland's letter in Motion Picture (it's obvious that the magazine already considered Judy a has-been star), followed by the letter itself. 

In the June issue of Motion Picture, we published some pretty ugly, but well-founded, rumors about Judy Garland, to the effect that she would never make another picture. Judy denied our story and, on her own behalf, wrote us the letter printed on these pages, a letter we felt —and we told Judy so— was one of the frankest, most honest we've ever received from a star. Then, on June 20th, came the shocking news that Judy had attempted to take her life. We still think you'll want to read this dramatic letter, written, as we know it must have been, while Judy was under the strongest of emotional strains. For, to us, it paints a vivid picture of Judy Garland, the one picture which perhaps shows Judy as the truly beloved star she certainly has been. 

Via: The Judy Garland Experience (via twitter)

Original source: Motion Picture, September 1950

Summer Stock (1950), co-starring Gene Kelly, was Judy's final film for MGM. While it was a difficult shoot because of Judy's personal problems, the film contains one of the best musical numbers she ever performed on film, Get Happy. (Gif by my sister at Classic Movies Round-Up.)

Hoping I will always live up to your praises

In Broadway Melody of 1938 (1937) fifteen-year-old Judy Garland sang You Made Me Love You (I Didn't Want to Do It) to a photograph of Clark Gable. It proved to be her breakthrough performance, making her an overnight sensation. Wishing to capitalise on her success, Judy's studio MGM immediately paired her with Mickey Rooney, at the time a big box-office star, their partnership subsequently bringing about a string of successful films. By the end of the 1930s, Judy had become a big star herself. Her portrayal of Dorothy in The Wizard of Oz (1939) along with her immortal rendition of Over the Rainbow forever established her fame.

On 2 August 1937, a few weeks before the release of Broadway Melody of 1938, Judy wrote the following letter to famed gossip columnist Walter Winchell after he had said some nice things about her in his column and radio program. "They mean so much to a person who is just getting started like me", she wrote to him, not knowing then that Broadway Melody would soon catapult her career and her life would never be the same again.

Source: psacard.com

Transcript: 

San Francisco
Mon. Aug 02, 1937

Dear Mr. Winchell

This is just a note to tell you how much I appreciate the lovely things you said about me, both in your column and on your radio program.

They mean so much to a person who is just getting started like me.

Hoping I will always live up to your praises, and deserve them.

I'm sincerely yours

Judy

oxoxoxox P.S. PARDON AWFULL [sic] WRITING PLEASE!

At a fundraising event in 1951: Judy Garland flanked by Milton Berle, Ray Robinson and Walter Winchell (far right).

Judy Garland's love letter to Frank Sinatra

Judy Garland and Frank Sinatra were not only lifelong friends but they were also romantically involved - twice. The first time was in 1949 after Garland had been fired from the film Annie Get Your Gun (she was replaced by Betty Hutton) and was next admitted to a hospital suffering a nervous breakdown. Following her recovery, Garland (still married to director Vincente Minnelli) went on a secret, romantic rendezvous with Sinatra in the Hamptons. The second time was in 1955 when Garland was separated from her third husband, producer and tour manager Sidney Luft. She briefly resumed her romance with Sinatra, who at the time was also separated from his then-wife Ava Gardner.

Garland remained close friends with Sinatra until her untimely death in 1969. She was $4 million in debt when she died and it was Sinatra who reportedly paid for her funeral. 

The following (undated) letter from Judy Garland to Frank Sinatra was presumably written in 1949, after their romantic rendezvous in the Hamptons.

Source: icollector.com

Transcript:

Darling: 

My sudden departure is a complete surprise to me. And I’m deeply dissapointed [sic] to have to miss our Monday & Tuesday date. However its [sic] imperative that [I] reach Boston by Sunday. I shall be at the Ritz-Carlton either under Mrs. Vicente Minnelli or in care of Carlton Alsop. 

You said today that you’d been neglegent [sic]. But darling—that’s so unimportant compared to the great amount of happiness you’ve given me. I shant [sic] forget the hours weve [sic] spent together—ever! 

I’ll let you know how everything goes on this trip. In the meantime—

Take good care of yourself—be happy and have lots of fun and laughs. 

And for Gods [sic] sake—keep those wheels in your lil ole head down to the minimum. 

Drop me a line if you can because it will cheer me up a great deal. 

I hope to talk to you tommorow [sic] —but I wanted to write this in case we miss connections. Even if we do reach one another—I’ll send it anyway. Its [sic] getting late—so I’m gonna wash up, get my money, etc. 

Goodbye my darling—I hope we see each other soon. Please dont [sic] forget about me. Think about me because I shall be thinking of you.

Always

Judy

A new low in the treatment of directors

In June 1944, Jack Conway was hired to direct The Clock (1945), Judy Garland's first dramatic film since joining MGM ten years earlier. Due to illness Conway worked on the film for only one week and was then replaced by relative newcomer Fred Zinnemann. Garland and Zinnemann didn't get along and Garland complained to producer Arthur Freed about their incompatibility ("I don't know— he must be a good director, but I just get nothing. We have no compatibility", she reportedly said). After three weeks of shooting, Garland asked Freed to remove Zinnemann from the picture. Freed complied with the wishes of his star and at Garland's request hired Vincente Minnelli to continue the film. (Garland and Minnelli, who had dated during production of Meet Me in St. Louis (1944), would rekindle their romance during the filming of The Clock and got married a year later.)

On the set of The Clock-- pictured above: producer Arthur Freed and leading lady Judy Garland looking over the script/ below: Judy Garland and co-star Robert Walker listening to director Vincente Minnelli .

Unhappy with being removed from the film, Fred Zinnemann wrote the following letter to Vincente Minnelli on 28 August 1944. While Zinnemann harboured no ill feelings against Minnelli, he did think Garland "behaved pretty badly" and also had "great contempt for the conduct of Arthur Freed". In the end, The Clock became a success under Minnelli's direction (although not a huge box-office hit) and was also well received by the critics. Most of Zinnemann's disappointing footage was not used.

Via: icollector

Transcript:

August 28, 1944

Dear Vince—

Thanks very much for your very nice note. I was glad to have it— and I would like to assure you that I have no hard feelings against you. In fact I do not see what else you could have done under the circumstances, but to accept the assignment.

I wish I could look upon the whole thing as a joke, but somehow it doesn't strike me very funny. I think this incident marks a new low in the treatment of directors, in professional ethics, tact and consideration which a director has a right to expect.

I think that Judy has behaved pretty badly in this whole setup— and I have great contempt for the conduct of Arthur Freed- both as a producer and as a man.

However, for your sake and for the sake of Bob Walker and Bob Nathan*, I hope this turns out to be a very fine and very successful film. Please believe me when I say that I hold nothing but good thoughts and the best wishes for you. 

Once again, thanks for the note - and the very best of luck.

Fred Zinnemann

[* Robert Walker was the film's male lead and Robert Nathan the screenwriter.]

Fred Zinnemann would enjoy his greatest successes a decade later with such classics as High Noon (1952), From Here to Eternity (1953) and Oklahoma! (1955).

Good luck, Judy!

Via: telegrams from last century

I came across this telegram from Lauren Bacall and Humphrey Bogart addressed to Judy Garland. The telegram is dated 24 September 1955, and Betty (Bacall's real name was Betty Joan Perske) and Bogie are wishing Judy Garland good luck ("Good luck tonight. You'll be a smash and we're with you. Lots of love, Betty and Bogie"). Since this sounds like something friends would write to each other, I was curious to know if they were indeed friends.

When I think of the Rat Pack, I always think of Dean Martin, Sammy Davis jr. and Frank Sinatra, who appeared on stage together and in films in the 1960s. However, there was a Rat Pack before that. It was a group of befriended actors who hung out together in New York during the 1950s, with Humphrey Bogart leading the Pack. And yes, Judy Garland was also part of the group (she was even the first vice-president). The original Rat Pack also included, amongst others, Bogart's wife Lauren Bacall (of course), Frank Sinatra (who also belonged to the new Pack), Katharine Hepburn, Spencer Tracy, David Niven and Cary Grant. There were also visiting members, Errol Flynn was one of them. So it seems Betty, Bogie and Judy were indeed friends, and the telegram was probably meant to wish Judy luck on "The Judy Garland Show" (the first episode of the Ford Star Jubilee), which aired on television on 24 September 1955.

Judy and Bogie talking and laughing

Lauren Bacall, Frank Sinatra and Judy Garland, possibly at the Bogarts' residence, where the Rat Pack normally hung out.