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The 1954 production of A Star Is Born was perhaps her greatest cinematic achievement, a raw and gut-wrenching performance that mirrored her own life. She identified deeply with the tragic trajectory of the story, sensing that her own star was being extinguished by the very industry that had ignited it. Her later years were a frantic cycle of sold-out concerts and devastating health crises. She attempted suicide numerous times—some biographers estimate more than twenty—each a desperate cry for a rest that the world refused to grant her. She was a woman who had been “on” since she was two years old, and the exhaustion had finally reached the marrow of her bones.
On June 22, 1969, the music finally stopped. Judy Garland was found dead in her London home at the age of forty-seven. The cause was an accidental overdose of barbiturates—a quiet end for a woman whose life had been so loud. The coroner noted that she had become so “accustomed” to the drugs that her body simply could no longer calculate the line between sleep and death. Her passing sparked a global outpouring of grief, but it also served as a somber indictment of the “Old Hollywood” system that had cultivated her genius while systematically destroying her spirit.