The Munchkins' Sordid Legacy: Elaine Merk Binder, Last Surviving Oz Munchkin, Dies at 94

Elaine Merk Binder, one of the eight child performers who sang and danced as Munchkins in The Wizard of Oz, died at age 94, her daughter confirmed Monday. Binder joined the MGM film in 1938 at eight years old and was among the last surviving members of the Munchkin ensemble.

Her death comes as a renewed public examination of the production’s culture surfaces. Accounts surrounding the 1939 film have long circulated about off‑set revelry and hard-partying behavior by some cast members, a narrative that has persisted alongside the film’s enduring popularity. Sid Luft, Judy Garland’s third husband, wrote in a 2017 memoir that Garland told him she had been molested by some of the Munchkin actors during the long shoot. Luft described the men as “naughty” and said an assistant director was assigned to keep them in line so they would not miss their calls. The account is part of a broader, disputed lore about how the eight‑month production operated and how Garland herself navigated a demanding and intrusive environment on set.

The Munchkin troupe has long been the subject of provocative anecdotes in Hollywood lore. Producers and other participants have recalled a climate of nightlife excess surrounding the cast when filming ended each day, with stories of late‑night outings, fights and uneasy interactions with the broader crew. Mervyn LeRoy, the film’s producer, said there were “fights and orgies and all kinds of carryings on,” and noted police were sometimes called to the Culver City hotel where the Munchkins lived to keep order. Bert Lahr, who portrayed the Cowardly Lion, wrote in his memoir that some Munchkins turned to panhandling, pimping and other rough conduct, while assistants were said to monitor the group for safety and discipline amidst volatile behavior.

Elaine Merk Binder’s on‑screen work with the Munchkin company came at a time when the actors were not only costumed in heavy makeup but also kept under tight control off camera. The actors, many of whom were German refugees who had recently fled the Nazis’ policies, were billeted in a separate hotel and ferried to the studio in a protective, child‑like bubble. The group’s earnings reflected a harsh reality: most Munchkins earned about $50 a week, with much of that income taking a detour through a manager who controlled much of their earnings while arranging work on tour.

The production’s internal dynamics extended into long‑standing questions about the treatment of young performers in Hollywood’s early era. Some historical accounts note that the Munchkins were kept under lookout and restricted in ways that reflected the era’s broader industry norms. Judy Garland herself acknowledged the pressure of stardom and the attention she faced from adult cast members, though she did not characterize all Munchkins in the same way. Luft’s remarks, drawn from his experience with Garland during the 13 years of their marriage, frame the controversy as part of a larger debate about power, exploitation and vulnerability on a notorious set.

From a career perspective, Elaine Merk Binder grew beyond her Oz role. After her audition in 1938, she described the moment as daunting but rewarding, ultimately becoming one of eight who would perform as both dancers and singers in the film. She did not pursue a lifelong acting path; instead, she later attended college and earned degrees in music and education, pursued computer science studies, and worked as a computer consultant for USC and First Interstate Bank. Her life after Oz illustrates a trajectory that diverged from the publicized, sensationalized narratives about the era’s child actors, even as the historical memory of The Wizard of Oz continues to illuminate questions about the production’s past and its enduring cultural footprint.

Elaine Merk Binder’s death was confirmed by her daughter, Annette Phillips, with no cause of death released. As the last surviving witnesses to the Oz era continue to pass, the broader story of The Wizard of Oz remains a touchstone for discussions about Hollywood’s treatment of child performers, the pressures of stardom, and the complex legacy of one of the most beloved films in cinema history.