Il mago di Oz

Judy Garland's portrayal of Dorothy, Dorothy's oddball Oz friends, "Somewhere Over the Rainbow", and the rest of this fine production of "The Wizard of Oz" have lost little of their magic over the years. While it has become oddly fashionable in recent years to deride this kind of classic, innocent fantasy, the movie itself has aged very well, and it is likely to retain an appreciative audience for some time to come.

There's no doubt that part of the appeal of the story and the characters comes from them being such old friends to so many cinema fans, but there are also good reasons why they have endured for so long, and have been able to hold up even after becoming so familiar. Although Dorothy is not a particularly complex character, she represents an innocent but deep yearning that is easy to identify with. Likewise, the 'Oz' characters are bizarre enough to remain interesting, but there is a core of substance that again is easy to believe in. Who does not feel that he or she could use at least one of the things that Dorothy's friends want?

The adaptation from the original story is done quite well, making fine choices for the characters and episodes that would work on film. The settings and visual effects may not impress the devotees of today's computer imagery, but in their time they certainly demonstrated a great deal of skill and planning, and even now, in their own way they are more believable than are most of the computer tricks that have become so overused.

The popular story has also been used for a number of more recent adaptations, and some of them have had some good points of their own. But this Wizard remains by far the most wonderful of the versions of the classic tale.

I remember watching this movie when they would air it once a year on CBS a few years back. Now it is shown on a couple of different networks quite frequently. This is a wonderful film for the whole family. Who wouldn't want to take a journey to the magical land of Oz?

I think that it is terrific how well this movie has held up over the years. It's going on sixty-two years since it was first released and yet, it is timeless. It is great to look back on a film that was made in the thirties, and compare it to the movies made in this day and age. This is a film that will just be something that stays around forever.

The Wizard of Oz is enjoyable for people of all ages. Everything about it brings a smile to my face. Wouldn't it be wonderful to just magically be transported to a land of talking trees and little munchkins? Of course it would be. The flying monkeys, a talking lion, the astounding ruby slippers, and everything else adds a special kind of magic to the screen.

The atmosphere and setting is magnificent. This is one of the things that makes the film so stunning. Anyway, the forest, the witch's castle, and even the farm is really well laid out.

I don't think that the casting could have been done any better. Judy Garland shines as the innocent Kansas girl. Her dancing and singing just brightens the whole story up. The lion, tin man, and scarecrow perform amazingly also. Everyone involved down to the littlest munchkin acts so well.

Even though this is a movie for everyone, it is categorized as a children's flick. The writing is good with very simple lines and problems, but slightly complex so we're not falling asleep of boredom.

What's left to say? Other things like the wardrobe, special effects, musical talents, and even the famous yellow brick road, are so well put together. Oz gives us an idea of what an almost perfect world would be like. No matter how old this movie becomes and we still look back on it, we'll still be able to enjoy at least one thoughtful movie. Classics never die. (Hence the name.)

In the fall of 2006, my husband and I saw a screening "The Wizard of Oz" that had a full orchestra providing the soundtrack. Never in my life had I seen a more eclectic audience: there were families with little children, adults who came alone (one woman was dressed as Glinda), teens and college students, even couples who had to have been in their '90s. Not to gush, but it's really a testimonial to "Oz"'s legacy that it can appeal to every generation, to every age. Like hot chocolate or Mickey Mouse T-shirts, "The Wizard of Oz" is something you never have to worry about being too old for. There is something so comforting about the familiar story of farm girl Dorothy's journey through the strange but wonderful land of Oz, and yet it remains a wonder to behold. I still get excited when Dorothy steps out her sepia-toned world of Kansas into the Technicolor Munchkinland, even though I learned ages ago how the trick was done. I'm still overjoyed when Dorothy makes another odd yet loyal friend along her journey (hmmm, a nice message of tolerance, too!). I still cry when Dorothy bids her friends farewell (Jack Haley in particular breaks my heart). I just want to yell at the screen, "no! Forget boring old Kansas, stay in Oz!"

Not only is "The Wizard of Oz" a charming, addictive classic, but it's one of the best-cast films ever. Putty-limbed Ray Bolger ("Some people without brains do and AWFUL lot of talking, don't they?"), over-the-top Bert Lahr (I haven't any courage at all, I even scare myself!"), and boyishly charming Jack Haley ("Now I know I have a heart, 'cause it's breaking.") are pitch-perfect in their respective roles as the Scarecrow, the Cowardly Lion, and the Tin Man. All three were vaudeville vets, and they infuse their roles with both theatrical shtick and warmth. Billie Burke is memorably twittery yet poised as Glinda the Good Witch, and who can possibly forget Margaret Hamilton's cackling, gleefully evil performance as the Wicked Witch of the West? Hamiltion's iconic, villainous image is so emblazoned in our minds, that it's easy to forget she was a former kindergarten teacher and future animal rights activist! As superb as the cast is, however, "The Wizard of Oz" belongs to the young Judy Garland. Garland makes Dorothy a very real character that we can all relate too, whereas any other actress would have made her one-note and whiny. She believably plays an ordinary girl in an extraordinary place, her lovely brown eyes wide with awe and wonder. And that singing voice! Long before Garland's voice became tinged with tremulous desperation due to age and hard living, the true beauty and purity of her voice comes through in "Oz". Garland sings "Over the Rainbow" so simply, without a trace of theatrics, and you're swept away just the same. It's spellbinding, seeing someone so young have the presence and talent to hold a movie in the palm of her hand. "The Wizard of Oz" will remain the ultimate escapist classic for generations to come, and it will always be one of my favorites. It's comforting, familiar, why... it's just like home.

The NBC Peacock began unfolding its wings. "The following program is brought to you in living color--with portions in black & white--on NBC." That exclusive intro began my exposure to color television at Grandma's in 1968. When Dorothy stepped out into Technicolor, I'll bet my eyes just popped.

This is the Movie of All Time, folks--a status achieved during its long run as a huge annual TV event during that classic era whose programs now show up on TV Land network. In the 1970s, Peter Marshall once read the answer on Hollywood Squares as to the program seen more times by more people than anything else ever shown on television. It was "Oz." Likewise, no movie has the hold on popular culture that this one does. What lion character ever since (i.e., Snagglepuss) hasn't been an impersonation of Bert Lahr going, "Put 'em up, put 'em uuuuup!"

Few musicals offer an equal combination of lovable music and engaging story. Perhaps "The Sound of Music." Hard to think of many Hollywood musicals where the story gets as serious as it does here when the Witch informs Dorothy that, "The last to go will see the first three go before her...and her mangy little dog too!" Yikes! In contrast, even the best of other Hollywood musicals seem to serve up fluffy, forgettable story lines that are mere backdrop to the song numbers that typically put the plot on hold.

I can't say that "Oz" doesn't have technical flaws or story element inconsistencies. It's just that the astonishing production values all around so overwhelm the shortcomings. The tornado sequence is a 1939 special effects tour de force--incredible. And the Nutcracker-quality musical score offers songs tastefully interwoven with the action. Certain numbers like "Merry Old Land of Oz," I never get tired off, though I like each of the songs.

Oz should be viewed in the lightness of spirit that it deserves. I mean look, we have Frank Morgan as the Emerald City gatekeeper, then seconds later as the cabbie with the Horse of a Different Color, then the Wizard's palace guard, and then the voice of fire-and-smoke Wizard of Oz who bellows, "Step forward, Tin Man!" What other film could put an actor go through 4 quick-changes within 10 minutes to such an endearing result? "Oz" is as magic as those sparkling ruby shoes.

The early Technicolor process utilized triple nitrate negative strips--separately recording each primary color in light. This was done due to the lack of a suitable "color film" in 1939. That would quickly change--but films from years following suffered from hues that faded with the years, even original negatives. Because "Oz" was actually filmed on a black-and-white base film, the negatives never faded. So now we have home videos/DVDs of breathtaking color quality. Now, the tinted filters in the cameras that separated the colors onto the negative strips meant that intense illumination was required, rendering the filming experience miserably hot for the actors involved, especially Lahr. But they all hold up amazingly well.

"Oz" has a valuable message. As the pop group America once said, "No, Oz never did give nothin' to the Tin Man....that he didn't, didn't already have." If we have truly search, we can find within us--or create through trial, like the Lion's courage--what we think we most lack. The Wizard (like the Lord) helps those who find help within themselves.

I feel sorry for the Almira Gulches who can't treasure this film experience. They need to visit the Emerald City to get their own ticking Testimonials and find their hearts.

Didn't bring your broomsticks with you? Well, I'm afraid you'll have to walk.

People talk about The Wizard of Oz as a backdrop to their lives; and how true that is. I just saw it again, DVD, for the first time in--gosh!--20 years. There was a little art house in Lansing Michigan USA that ran it back then, on the popular premise that there's nothing like TWoO on "the big screen." That's the last time I'd seen it, 'til today.

I guess the part that "gets" me about the movie is how the writers made it pretty plain that the Scarecrow, Tin Man, and Cowardly Lion really already had what they thought they were missing; that their respective problems were in misapprehending their own complete natures. That's a powerful statement for many of us. I found myself most touched in scenes where the Scarecrow was showing wisdom, the Tin Man feeling deeply ("...when I think of Dorothy in that awful place..."), and the Lion...well, maybe accomplishing this effect was harder in his case...what *is* true courage?

Anyway, if you're reading this here, you must be a movie weenie, and you've no doubt already seen the movie, so I'm not going to recite the usual "go see this movie" mantra.

I was just very touching to see this movie again, at this phase in my life.

I will mention a few more things about how I now see this movie as a "growed up" (I'm almost 50): It's interesting how you can see the production values of the time; the lot sets and special effects and so forth. This movie is a powerful example of how a good story overcomes limited means in other areas.

People who look back with disdain on the low-tech chintz of old movies can see in TWoO the magic ingredient; narrative solidity. And I'm not a pollyanna about this: I'm sure the underlying reality behind its making is rife with horror stories of expert disagreement, rewrites, discarding, jerryrigging, and the rest of it. But in the end, something like narrative love won out; and that's the important thing.

Oh: And having Harold Arlen write the music was good luck indeed. And orchestrations which cleverly appropriated very tasty new ideas in composition (polymodalism, non-standard phrasings, etc.) didn't hurt, either!

Geez, this movie is such a little universe....I'd better stop here.