ONE OF RON GALELLA’S candid portraits of Liza Minnelli, taken in 1968 at the premiere of A Dandy in Aspic, shows Judy’s little girl in an amazing white suit, black shirt, and white silk tie, a daisy brooch on her swank lapel, no longer The Sterile Cuckoo, but ready for all the cabaret, life, has to offer. It only seems strange that dandy, pixie Liza-pre Halston, pre-disco, pre-encephalitis, pre-everything else, an awkward inheritance worked into almost iconicityshould ever have been able to deal in the real: i.e., to pull off something that might allow her, for a moment, to be just Liza.