If you were around during the Golden Age of Hollywood, you would have heard of Mercedes McCambridge. She had an Oscar winning role as Best Supporting Actress in the 1949 movie All the King’s Men. She was nominated for the same award in the 1956 film Giant. If you haven’t seen either of those classics or are more into horror, you might have heard her voice the demon Pazuzu in the 1973 film classic, The Exorcist. Indeed, she was renowned for her voice. Orson Welles, who, incidentally, addressed Catholic University’s first class of drama students in 1939, called her “the world’s greatest living radio actress.”
McCambridge was also an artist-in-residence here at Catholic University from 1972-1973, lured, no doubt, by the University’s stellar drama program and its illustrious head, Father Gilbert Hartke (1907-1986). McCambridge once commented on Father Hartke’s sartorial tastes, which extended well beyond the Dominican robes of his order to include a silk Nehru jacket, a six foot long aviator scarf, a Russian fur hat and light blue canvas sneakers, among many other articles of clothing.
Most of these articles were gifts given to him by those who knew he loved clothing and costumes. And were it not for his extravagant tastes, we perhaps might not today have an absolutely precious piece of cinematic history: one of the dresses Judy Garland wore on the set of The Wizard of Oz. Articles in The Tower and The Washington Post allude to it, and rumors have swirled for years that Hartke had the dress, but it wasn’t until recently that Matt Ripa, Lecturer and Operations Coordinator at the Drama Department rediscovered it. I asked Mr. Ripa how he found the dress, and he responded that he too, “had heard rumors that Father Hartke was gifted Dorothy’s dress and that it was located somewhere in the building.” But “I could never get confirmation on exactly where it was located.” He explains:
I had looked in our archives, storage closets, etc. to no avail. I assumed it was a tall tale (of which many exist for Father Hartke). Our building is in the process of renovations and upgrades, so I was cleaning out my office to prepare. I noticed on top of the faculty mailboxes a trashbag and asked my co-worker to hand it to me. On the trashbag was a note for our former chair stating that he had found ‘this’ in his office and that he must have moved it when he moved out of the chair’s office… I was curious what was inside and opened the trashbag and inside was a shoebox and inside the shoe box was the dress!! I couldn’t believe it. My co-worker and I quickly grabbed some gloves and looked at the dress and took some pictures before putting it back in the box and heading over to the archives. I called one of our faculty members and former chair, who always told me the dress existed and that it was in the building to let her know that I had found it. Needless to say, I have found many interesting things in the Hartke during my time at CUA, but I think this one takes the cake.
As archivists, we were obliged to work on gaining additional documentation for this popular culture national treasure. Objects such as this one might be forged and passed off as authentic because of their cultural and monetary value. So how do we know the dress is the real thing? We do not yet know how Mercedes McCambridge got the dress, though we do know she was a Hollywood contemporary of Judy Garland’s and that they were supposedly friends. McCambridge was friends with many luminaries in the film and radio industry. Garland had died by the time the dress went from McCambridge to Father Hartke. Moreover, we have several photos of Father Hartke holding the dress, and the abovementioned articles from The Tower and The Washington Post referencing it. So the circumstantial evidence is strong.
Nonetheless, we reached out to experts in cultural memorabilia at the Smithsonian’s National Museum of American History. The Museum has several artifacts from the Wizard of Oz set, including a famous pair of Dorothy’s Ruby Slippers. Curator with the Division of Cultural and Community Life, Ryan Lintelman, an expert in the Museum’s Oz memorabilia, offered a wealth of information he’s gathered on the history of the film’s Dorothy dresses. There were several of them, though it appears that five, excluding the University’s dress, have been verified as probably authentic. All of the dresses have certain verifiable characteristics: a “secret pocket” on the right side of the pinafore skirt for Dorothy’s handkerchief, “Judy Garland” written by hand in a script specific to a single person who labeled all of the extant dresses in the same hand, for example. Apparently, the thin material of the blouse was prone to tearing when Garland took it off after filming, and a seamstress often repaired it before she donned it for the next shoot. The Hartke dress has all of these characteristics, including blouse tears where the pinafore straps sat on the shoulders.
Lintelman, along with his colleagues at the Museum, Dawn Wallace, Objects Conservator, and Sunae Park Evans, Senior Costume Conservator, paid us a visit to view the dress. Employees at the Museum are not authorized to authenticate objects like this one, but they suggested that the dress was consistent with the other objects from the film, and that the evidence around the dress was strong.
Dorothy’s Wizard of Oz dress, once the province of myth, is now a real object in the University’s Special Collections. We can now preserve it in proper storage in a temperature- and humidity-controlled environment. By the way, if any of you readers have your own story connected to this dress, drop us a line!
Mary Jo Santo Pietro, Father Hartke: His Life and Legacy (Washington, D.C. The Catholic University of America Press, 2002), 201.
“Father Hartke: Kudos from the President, A Look At the Past,” The Washington Post, May 17, 1975, B1. The article alludes to “the original gingham dress that Judy Garland wore in The Wizard of Oz,” hanging in his closet.
McCambridge talks about her relationships with various Hollywood figures throughout her autobiography, and specifically mentions her residency at Catholic University in the early 1970s in her autobiography, The Quality of Mercy (New York: Times Books, 1981), see pages 107, 189 for mention of her year as artist-in-residence. See also, Richard Coe, “Backstage And Back In Town,” The Washington Post, September 9, 1972, C9.