Untold story :The Library

Judy Garland's wild 15-year sentiment with Sid Lift, a previous fighter and aircraft tester, was set apart by both vocation highs and a dim plummet into medications and gossipy tidbits about misuse. 

Just a brief time in the wake of finishing her union with Luft, the Wizard of Oz symbol passed on appallingly from an unplanned barbiturate glut in 1969 at age 47. 

In another diary, Judy and I: My Life with Judy Garland – made from notes left incomplete before his own 2005 passing, and excerpted in the current week's issue of PEOPLE – Luft subtleties Garland's agonizing decrease of implosion. 

"My father adored her," their child Joey Luft, 61, tells PEOPLE . "He needed to secure her." 

Luft and Garland initially met in a Manhattan club in 1950, and the fascination between them was attractive and moment. They started an issue while the entertainer was as yet hitched to chief Vincente Minnelli (with whom she had little girl Liza Minnelli). 

The good 'ol days were arranged by "secret night rendezvous" in Los Angeles, Luft composes. 

"I would not like to fall head over heels in love for a wedded lady; it appeared to be chancy," he writes in the book. 

Despite the fact that he realized she was pained, Luft felt defensive – and fell hard. He turned into her administrator relatively soon, and as Garland started her separation procedures – Luft expresses, "I realized I was infatuated with Judy." 

Before long, Garland was pregnant with his kid while they chipped away at a show together in New York. 

"I wound up saying, 'obviously I need your infant, yet we have a show to do,' " Luft composes of the spontaneous pregnancy in the book. "On account of my negative response, Judy didn't trust in me where and when she planned to have the fetus removal." 

Regardless of genuine notice indications of Garland's challenges –, for example, unexplained scars within her wrists – the couple wedded in 1952. In the years that followed, her reliance on different pills immediately started to rule their relationship. 

"She had been urged to take pills by the studio managers and afterward she started to depend upon them," Luft composes. "Mickey Rooney and Elizabeth Taylor, among others, were also trapped in the studio dope traps. This taking care of opiates to kids was a dim mystery known distinctly to those associated with the studio." 

Wreath would go through "evenings in the lair with the entryway shut," Luft subtleties, clarifying that his significant other turned out to be "increasingly distant," once endeavoring self destruction by slitting her jugular with a disposable cutter. 

In spite of the fact that Luft says his significant other discovered it "basically unthinkable" to work without being sedated, she discovered some food in their youngsters – Lorna, brought into the world in 1952, and Joey, who showed up three years after the fact. 

For additional about Judy Garland and Sid Luft's marriage, get the current week's issue of PEOPLE — on magazine kiosks Friday 

All things considered, Luft attempted to mediate, when taking her to an AA meeting, yet he composes that "If I somehow happened to show concern, she'd suddenly advise me to 'f—off.' " 

In the end, the pair started to carry on with "practically separate lives" in a similar home, with the youngsters dwelling in one wing that Garland at times visited. " wouldn't understand she was stoned," Luft composes. 

They at last separated in 1965, with Garland telling an appointed authority at their hearing that Luft had been harmful, as indicated by various reports. The New York Times said Garland disclosed to Edward R. Brand of the Superior Court, "He struck me ordinarily. He did a great deal of drinking." 

Despite the fact that Luft denied the cases, he drew wrath again once many years after the fact, when he endeavored to sell her Academy Award, just to be hindered by the Academy of Motion Pictures Arts and Sciences. 

In Judy and I, Luft composes that Garland's cases to her lawyer Jerry Giesler that "Sid hit me" or "Sid undermined me" were "all misrepresentations." 

He further subtleties an occurrence where Garland thumped on his inn entryway at the Stanhope, just to start shouting, "He's hitting me, he's hitting me!" as he let her in. 

"All of a sudden, an investigator and a cop busted in. The two men had me by the neck, and the other by the arms," he composes, guaranteeing that the entire scene was organized by Garland so she could fly off to England with their youngsters. 

Luft composes of her stunning passing in London in 1969, "Inwardly, none of us ever defeated it." 

"Judy Garland was an exceptionally uncommon blend of broke nerves and weaknesses, recklessness and self-destructive inclinations yet in addition a genuine virtuoso," he adds. "She was to me the best ability who at any point lived."

Littlefeather says Brando was delighted by her performance, but then felt abandoned by the actor when the ensuing firestorm erupted. As a result, Littlefeather claims she was “blacklisted” by Hollywood from her minor career in small films and television, and never worked again.

“It was the first time anyone had made a political statement at the Oscars,” Littlefeather says in the documentary. “It was the first Oscars ceremony to be broadcast by satellite all over the world, which is why Marlon chose it. I didn’t have an evening dress so Marlon told me to wear my buckskin.”

Littlefeather said she could “hear the boos and jeers” as she came on stage. She claimed, “I later learned six security guards had to hold back John Wayne, who was in the wings and wanted to storm on to the stage and drag me off.”

After the acceptance, she went to Brando’s house. “He told me I’d done a great job,” she says, but said the subsequent fallout made that praise bittersweet. “I was blacklisted – or, you could say, ‘redlisted’. I was ostracized everywhere I turned. No one would listen to my story or give me a chance to work.”