The Wizard of Oz
The Wizard of Oz
Casablanca, It’s a Wonderful Life, Psycho, The Godfather, Jaws, Star Wars, — they’re all amazing films that are universally revered; yet every once in a while you may come across a soul who hasn’t seen one or more of them. But a true rarity, nearly an impossibility, is to find someone who has never been exposed to The Wizard of Oz. Is there a film more widely seen, more globally beloved? So widespread is its legacy, and so deeply is it embedded in the global consciousness, one can hardly discuss what makes the film itself great, because the film has been accepted as being self-evident — an unquestionable masterpiece that will persevere as long as stories are told on the big screen.
When The Wizard of Oz was released in 1939, L. Frank Baum’s Oz stories had already captivated readers nationwide with their fantastical imagination and lovable characters. The movie’s opening title card reads “For nearly forty years this story has given faithful service to the Young in Heart; and Time has been powerless to put its kindly philosophy out of fashion.” That was nearly seventy-five years ago. Though The Wizard of Oz is a film that is definitely of its time, the sincerity and charm of the story, music, and characters has continued to enchant audiences on the big and small screen alike.
Perhaps because so few of us see Oz for the first time as adults, the story of young Dorothy (Judy Garland) feels completely genuine and relatable to us. As children, we identify with her when no adult seems to have the time to listen to her, and her irresponsibility is no character flaw to us at all. We too would like to escape from the dull sepia tones of Kansas, and when Oz is revealed in all its Technicolor glory we are willing to stay in Munchkinland forever. Of course, even the fantastic land over the rainbow isn’t completely carefree and perfect.
Innocent as Dorothy is, her first act in Oz is to murder one of its least popular citizens: The Wicked Witch of the East. An accident of course, but her shock is quickly charmed away by a musical medley hailing her as a hero. Dorothy almost had an easy life in Munchkinland; but word spreads fast, and soon she becomes the target of one of cinema’s most terrifying and unforgettable villains: The Wicked Witch of the West (Margaret Hamilton). Kids have become more and more desensitized as the decades have worn on, but few still have the mettle to keep their eyes open when the Witch or her flying simian minions orchestrate their terror on our heroes.
The darkness and terror of the Witch are offset with a trio of sidekicks that will help us through the dangerous and strange land: the brainless Scarecrow (Ray Bolger), the heartless Tin Man (Jack Haley), and the Cowardly Lion (Bert Lahr). Each of the vaudeville veterans gives a heartfelt and goofy performance that makes us feel at ease in a strange land. As each is picked up on the road to the Emerald City, we are treated to different iterations of one of the film’s most enjoyable musical numbers, and come to know each of them as our own personal friends. To those not ashamed to admit it, the final farewell to these three is one of Hollywood’s greatest tear jerking scenes.
Of course, all these aspects of the film are well known and nothing new. The Wizard of Oz is consistently rated in professional critics circles as one of the greatest films ever made, yet it is probably one of the most simplistic stories to ever grace the silver screen. Dorothy’s journey (in what may or may not be a real place) is a basic fantasy quest to teach her that it’s time to grow up, and to help her appreciate the comforts of home. While Baum’s original fairy tale had economic and political undercurrents, thoughts of the Silver Standard and fascism are fleeting while viewing the film today. So can The Wizard of Oz be considered a truly fantastic film if its message is so simple, even a little saccharine? What makes The Wizard of Oz great is not only its legacy, but the fact that it is such a pure movie. Sit a child in front of it today, and watch the wonder come across their face. Something with this kind of impact on viewers of all ages after three quarters of a century deserves every bit of its legacy.
Not that there isn’t also a plethora of outstanding filmmaking on display here. Oz’s production was one of the most troublesome in Hollywood history. At least half a dozen directors contributed to different sections, hazardous make up effects severely injured many cast members, and the sizeable cast was difficult to manage at times. Yet the production team was able to overcome all obstacles and craft an experience unlike anything the world had ever seen. There is not a single exterior shot in The Wizard of Oz, yet the world is crafted perfectly through wonderful set design, clever special effects and unforgettable performances. Many of today’s best fantasy films owe a lot to The Wizard of Oz, and it’s astounding to think that back in 1939, there wasn’t really a market for fantasy films on this scale. It was a big risk for MGM, one that didn’t pay off initially, but one that would resonate through time to touch nearly everyone on earth.
Even in 1939, it wasn’t very hard to tell where the set ended and the matte paintings began. Oz’s special effects are extraordinary for the time, but easy for the jaded and the self-righteous to tear apart. It’s a credit to the film that it establishes its world so well that we are willing to forgive the inconsistencies. Indeed, fans of the film don’t consider the effects a flaw at all, merely another layer of the experience. Though the primitive effects are as artificial as modern day CGI, the hard work and genuine heart that emanates from them is still preferable to slicker green screen technology.
The musical genre has seen its day, but The Wizard of Oz’s songs, for the most part, still hold up today. While the medley introducing us to Munchkinland can be slightly long winded, each iteration of “If I Only Had a (Brain, Heart, etc.)” and “We’re Off to See the Wizard” still sets my toe to tapping and puts a smile on my face. “Ding Dong, the Witch is Dead” still gets a laugh whenever introduced in pop culture, and “Somewhere over the Rainbow” remains as haunting and lovely as it ever was. The studio musical is a genre that built Hollywood, and while many of its more famous films have fallen by the wayside, Oz stands as a historical testament to the simplicity and joy of the era.
Of course, not everybody loves The Wizard of Oz. With all the popularity and love lavished upon it, there are naturally many who feel over saturated with it, and one can hardly blame them. But like many of Hollywood’s classic comedies and musicals, The Wizard of Oz is a genuine film that tries to help the jaded to resist their cynicism if only for a little while. It’s a film that attempts to heal, and to comfort; a film that acknowledges the dangers and terror of life, but posits that there is always a warm, safe place you can turn to. Dorothy sought a place that was free from troubles, yet upon her return to Kansas, you know she’ll have to return to work in the fields the next morning. Closer inspection reveals that The Wizard of Oz is not entirely ooey-gooey and naively sentimental, but it’s the fairy tale that generations upon generations have turned to in order to escape if even for a small while. Over the Rainbow, back again, and you know you’ll want to revisit real soon.
