Young Judy [antikvár]

What more is there to say about the girl 'sentenced to martyrdom and sainthood in a show-biz world that cries too easily but shies from the true cause of the tears that Judy has been crying from Andy Hardy days onward9?1 Her life has been described in detail in hundreds of articles and numerous books. We know the fixed image of the troubled singer, the pathos of her priváté life, her theatrical accomplishments and failures, her legendary status and the myths thereof. The truth shall make you free, the old adagé goes; yet in the several biographies already written, Judy remains imprisoned in her legend, no more comprehensible than before, as elusive as ever - the 'little girl lost' who escapes us. After almost 40 years of public notoriety, Judy seems doomed to be a martyr and a secular saint. A good biography should answer somé fundamental and perenmai questions about its subjeet, and we hope this one does this for Judy Garland. Schulberg's intuition was right: people have shied away from the truth about Judy, not only from her early MGM days on, but from the deeper recesses of her history, the years before she became famous. This book is about the source of her crushing anguish which increased as her life went on, the cause of the tears that she cried. Her accomplishments and tribulations have been well documented. In Mel Torme's The Other Side of the Rainbow9 which deals with less than a year in Judy Garland's later life, she emerges as disturbing and fascinating, as much from her own sheer indomitability as from Torme's portrayal of her from his love-hate viewpoint. Mickey Deans' and Ann Pinchot's Weep No More My Lady explains Judy's life from the perspective of her last few years,