Wizard Or Oz

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Ein Sturm trägt die kleine Dorothy Gayle in das magische Land Oz. Verzweifelt macht sie sich auf den Weg in die Hauptstadt, wo der große Zauberer von Oz lebt. Nur er kann ihre Rückkehr nach Hause ermöglichen. Der Weg dorthin wird zu einer Reise. Der Zauberer von Oz (Original The Wizard of Oz), im deutschsprachigen Raum auch bekannt unter dem Alternativtitel Das zauberhafte Land, ist ein. Der Zauberer von Oz ist ein Kinderbuch des US-amerikanischen Schriftstellers Lyman Frank Baum. Die Erzählung erschien unter dem Originaltitel The. The Wonderful Wizard of Oz (The Wizard of Oz Series) (English Edition) eBook: Baum, L. Frank, Denslow, W. W., Hearn, Michael Patrick: crmbarometern.se The Wonderful Wizard of Oz: th Anniversary Edition Books of Wonder: crmbarometern.se: Baum, L. Frank, Denslow, W. W.: Fremdsprachige Bücher.

Wizard Or Oz

Der Zauberer von Oz ist ein Kinderbuch des US-amerikanischen Schriftstellers Lyman Frank Baum. Die Erzählung erschien unter dem Originaltitel The. Veranstaltungen in Berlin: Der Zauberer von Oz. © Komische Based on the fairytale The Wonderful Wizard of Oz by Lyman Frank Baum; Libretto by Paolo. Lyman Frank Baum: The Wonderful Wizard of Oz | Die Abenteuer von Dorothy, ihrem Hund Toto und anderen unvergesslichen Figuren begeistern weiterhin.

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Zuhause auf der Farm bringen sich alle in einem Schutzkeller in Sicherheit. Dorothy lebt bereits in einem winzigen Haus. Zusätzlich Reset filters. Juni in dieser Version in die Liste der exzellenten Artikel Die Letzten Eurojackpot Zahlen. Der Autor Baum hat immer bestritten, dass seine Erzählung für irgendetwas eine Allegorie darstelle. Golden Online Casino Reef diesen drei Begleitern muss das Mädchen sich einiger Hinterhalte der bösen Hexe erwehren. Gemeinsam mit ihren Begleitern macht Dorothy sich daher auf den Weg. Die Gegenspieler von Dorothy und ihren Begleitern sind zahlreich. Jahrhunderts schrieb. Description Stargames Verlust by L. Ebenfalls treten die Bewohner einer Porzellanstadt auf, die selbst alle aus Porzellan bestehen. Baum verwendete Real Games.Net Der Zauberer von Oz einen klaren, schnörkellosen Stil und vermochte mit nur wenigen Sätzen, dem Leser die Atmosphäre zu vermitteln. Dabei trifft Dorothy auf den freundlichen Schausteller Professor Marvel. Date to. How is the happiness, warmth, and harmony of family life conveyed in the photographic image? Doch müssen sie zuerst eine Bedingung erfüllen: einer von ihnen muss die Böse Hexe des Westens töten, die über das Land Winkie herrscht. Rubottom's and Elmer Sheeley's art direction, which certainly raises a standard, for although some of the film's designs have become dated, whether they be production designs by Malcolm Brown, William A. See also: List of Oz books. Retrieved February 2, The Munchkins Dorothy encounters at the beginning of the novel represent farmers, as do Wizard Or Oz Winkies she later meets. Library of Congress as one of the first 25 films for preservation in the National Film Registry for being "culturally, Pik Kreuz Herz Karo, or aesthetically significant". With a darker Paccino Regensburg, it fared poorly with critics unfamiliar with the Oz books and was Bonus Sports Betting successful at the box office, although it has since become a popular cult filmwith many considering it a more loyal and faithful adaptation of what L. After discovering that the myths about the West's incalculable riches were baseless, Baum created "an extension of the American frontier in Oz". Retrieved April 16,

Mickey Carroll as Munchkin. The Munchkins. Meinhardt Raabe as Munchkin Coroner. Karl Slover as Munchkin. September 6, Full Review…. September 20, Rating: A Full Review….

July 21, Full Review…. September 9, Full Review…. View All Critic Reviews Feb 27, Beautiful, memorable and overall a fun journey!

The Wizard of Oz in my opinion is the best family film and is a magically fun time! Mr N Super Reviewer. Nov 09, A classic of cinema, with a broadway musical brought to the big screen in colour.

Full of memorable songs and unforgettable scenes. Ross C Super Reviewer. Jun 15, One of the rare classics that has actually managed to achieve the coveted status of being impervious to criticism.

Its pure magic from start to finish. I could watch it a thousand times and still be filled with pure, unadulterated joy each time.

Alec B Super Reviewer. Aug 13, We're off to see the wizard, the adequately entertaining, but somewhat dated and narratively thin 'Wizard of Oz'!

It's good that she had that going for her after this film, because she was cuter at 16, and if you think that that's kind of weird to say, this film is so old that I think that it came out at a time when year-olds were already married, with children, and a place in the Senate of the Roman Empire or something.

No, this film can't possibly be that terribly old, because I had always figured that the '60s was the best time to get the type of dope which just had to have gone into this film, or at least into the minds of this film's viewers back in Man, this trippy flick has always been mighty popular, and I'm betting Victor Fleming was glad of that, because if I'm going to make time to knock something the same year I did "Gone with the Wind", I better get paid back well.

Man, forget Fleming, this film and "Gone with the Wind" bled Metro-Goldwyn-Mayer dry, so if they didn't succeed, Fleming would have his life to worry about more than his money He made this film and "Gone with the Wind" in one year, so it's not like he had all that much time to spend on having a life.

Well, lucky for MGM, was anything but the year they saw flop, because this film and its fellow Fleming flick were quite the hit, though that's not to say that this film comes close to the level of "Gone with the Wind", being held back by a number of factors.

A late s family fluff piece, this film has, of course, dated quite a bit over the years, though it couldn't have been entirely cleansed of cheesiness at the time of its release, and it's certainly not cleansed of corniness now, as its lighter moments get to be too fluffy for their own good, sometimes to a slightly annoying extent, and when it comes to the deeper areas of this film's substance, it's also dated, with no subtlety and only so much weight.

Sure, I wouldn't have expected too much from this film back in '39, so I'm certainly not asking for all that much depth to this classic fluff flick, but it's all so very superficial, and all too often to a cheesy extent which challenges your investment about as much as dating within pacing sensibilities.

At just over minutes, the film is both rather short on a general level, as well as longer than it probably should be, and you are reminded of this by a certain unevenness in pacing, whose more hurried moments slam-bang exposition, and whose less swift areas get to be a bit carried away in repetitious padding.

Really, pacing inconsistency isn't a terribly big problem, or at least the slow spells are not nearly as frequent as the hurried spells, but it still stands, messing with the momentum of the film's focus until you end up with plotting that kind of takes longer than it probably should to tell a story so simple.

Again, pacing issues aren't considerable, and while cheesiness is, it's a bit easier to forgive, considering the fact that this fluff piece was done quite a while back, so as far as consequential shortcomings are concerned, not much is wrong with this film, which is still kind of underwhelming, largely thanks to natural shortcomings, because as much fun as this tale may be, there's nothing much to it.

This classic fluff piece really is not much more than a classic fluff piece, and that's fine and all, as it makes for some pretty entertaining classic cinema, but at the end of the day, without its historical significance and fair deal of still-memorable strength, there wouldn't be too much to remember within this somewhat cheesy, uneven and limited piece of fantasy fare.

That being said, even without taking its historical significance into consideration, this film is an enjoyable one, whose shortcomings are undeniable, but challenged enough by aspects which were groundbreaking at the time and are still impressive now, with musical aspects being particularly strong against the test of time.

By no means was Herbert Stothart's score especially groundbreaking at the time, or especially outstanding, but to this day it is undeniably quite strong, with a classical tastefulness and color which flavor up entertainment value, especially when bonded with sharp lyrics by Harold Arlen and lively vocals in order to produce one delightful musical number after a while.

Whether when it's complimenting tone with tasteful score work or flavoring up the fun factor with justly legendary songs, the musical aspects cannot be taken away from this film, bringing life to its world every bit as much as Cedric Gibbons', George Gibson's, Wade B.

Rubottom's and Elmer Sheeley's art direction, which certainly raises a standard, for although some of the film's designs have become dated, whether they be production designs by Malcolm Brown, William A.

Horning and Jack Martin Smith, or costume designs by Adrian, the components into the making of this film's distinct world still hold up as colorfully intricate and eminently memorable, especially when their beauty is really fleshed out by Harold Rosson's cinematography.

Needless to say, Rosson's efforts have become quite dated over the years, but you have appreciate them for their uniqueness for the time, and for their still being quite impressive on the whole, with a handsomely grainy bronze tone to the first act that often resembles some kind of a tastefully done old photography, while the Technicolor-charged body of the film bounces the rich depths of color in a striking way that is still eye-catching to this day.

Technically and stylistically, the film hasn't made it through the test of time spotless, but the visuals which do a lot to drive this fluff piece remain nothing short of remarkable, and you just cannot see this film without them, partially because the film doesn't have too much going for it when it comes to substance.

The film may be stylistically strong, but it has only so much to offer when it comes to story weight, and even then, this timeless tale is by no means terribly unengaging, because it's so distinctly unique, as well as colorful at its core, particularly when it comes to presenting exceptionally memorable characters, brought to life by colorful performances, many of which have become rather dated as kind of hammy, but not so much so that you can't see the charm within most every member of this cast, especially show-stealingly delightful secondary leads Ray Bolger, Jack Haley and, last but not at all least, Bert Lahr.

A young Judy Garland is fine and all, but Bolger's, Haley's and Lahr's color do more than you'd expect in bringing this fun flick to life, and yet, the performance that really drives the entertainment value of this fluff piece is a certain offscreen one by Victor Fleming, whose boastful atmosphere does thin subtlety no favors, but also adds much to the kick of tonal heights in storytelling, while keeping consistent in thorough entertainment value.

No matter what the nostalgic critics may say, you shouldn't expect much from this film, and sure enough, the final product doesn't offer all that much reward value, but it does offer much entertainment value, anchored by heartfelt storytelling, flavored up by a colorful style, and ultimately abundant enough to make a very fun, if flawed fluff classic.

When it's time to go the way of Elton John and bid goodbye to the Yellow Brick Road, underwhelmingness stands supported by cheesy dating, pacing unevenness and, worst of all, a thinness in subject matter weight which is considerable enough for the final product to fall quite a ways short of truly rewarding, and yet, through a delightful soundtrack, exceptional art direction, lively cinematography and an at least colorful story concept, brought to life about as much as it can by charismatic performances - particularly from Ray Bolger, Jack Haley and Bert Lahr - and upbeat directorial storytelling, Victor Fleming's "The Wizard of Oz" is left to stand as an improvable, but fun fluff piece of cinema's golden age.

Cameron J Super Reviewer. See all Audience reviews. Auntie Em: Almira Gulch, just because you own half the county doesn't mean that you have the power to run the rest of us.

For twenty-three years, I've been dying to tell you what I thought of you! And now Dorothy Gale: There's no place like home. Dorothy Gale: Why, what is that?

Coach Driver: That, my dear, is a 'horse of a different color'. View All Quotes. Video Game Movies Ranked. Best Netflix Series and Shows.

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Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Dorothy Gale is swept away from a farm in Kansas to a magical land of Oz in a tornado and embarks on a quest with her new friends to see the Wizard who can help her return home to Kansas and help her friends as well.

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The production faced the challenge of simulating the Tin Man's costume. Several tests were done to find the right makeup and clothes for Ebsen.

He was hospitalized in critical condition and subsequently was forced to leave the project; in a later interview included on the DVD release of The Wizard of Oz , he recalled the studio heads appreciated the seriousness of his illness only after seeing him in the hospital.

Filming halted while a replacement for him was found. His replacement, Jack Haley , simply assumed he had been fired. George Cukor did not actually shoot any scenes for the film, merely acting as something of a "creative advisor" to the troubled production and because of his prior commitment to direct Gone with the Wind , he left on November 3, when Victor Fleming assumed directorial responsibility.

As director, Fleming chose not to shift the film from Cukor's creative realignment, as producer LeRoy had already pronounced his satisfaction with the new course the film was taking.

Production on the bulk of the Technicolor sequences was a long and exhausting process that ran for over six months, from October to March Bolger later said that the frightening nature of the costumes prevented most of the Oz principals from eating in the studio commissary; [32] the toxicity of Hamilton's copper-based makeup forced her to eat a liquid diet on shoot days.

All the Oz sequences were filmed in three-strip Technicolor. The movie was not the first to use Technicolor, which was introduced in The Gulf Between , released in In Hamilton's exit from Munchkinland, a concealed elevator was arranged to lower her below stage level as fire and smoke erupted to dramatize and conceal her exit.

The first take ran well, but in the second take, the burst of fire came too soon. The flames set fire to her green, copper-based face paint, causing third-degree burns on her hands and face.

She spent three months healing before returning to work. The next day, the studio assigned Fleming's friend, King Vidor , as director, in order to finish the filming of The Wizard of Oz mainly the early sepia-toned Kansas sequences, including Garland's singing of " Over the Rainbow " and the tornado.

Although the film was a hit in , Vidor chose not to take public credit for his contribution until his friend died in Arnold Gillespie was the special effects director for the film.

Gillespie worked with the production using several visual effects techniques for the movie. Gillespie used muslin cloth to make the tornado flexible after a previous attempt with rubber failed.

He hung the 35 feet of muslin from a steel gantry and connected the bottom to a rod. By moving the gantry and rod, he was able to create the illusion of a tornado moving across the stage.

Fuller's earth was sprayed from both the top and bottom using compressed air hoses to complete the effect. Dorothy's house was recreated by using a model.

The Cowardly Lion and Scarecrow masks were made of foam latex makeup created by makeup artist Jack Dawn , who was one of the first makeup artists to use this technique.

It took an hour each day to slowly peel the glued-on mask from his face. At the time, she was wearing her green makeup, which was usually removed with acetone due to its toxic copper content.

Because of Hamilton's burns, makeup artist Jack Young removed the makeup with alcohol, to prevent infection. The film is famous for its musical selections and soundtrack.

The song ranked first in the AFI's Years Georgie Stoll was associate conductor, and screen credit was given to George Bassman , Murray Cutter , Ken Darby and Paul Marquardt for orchestral and vocal arrangements as usual, Roger Edens was also heavily involved as an unbilled musical associate to Freed.

The songs were recorded in the studio's scoring stage before filming. Several of the recordings were completed while Ebsen was still with the cast.

Therefore, although he had to be dropped from the cast because of a dangerous reaction to the aluminum powder makeup, his singing voice remained on the soundtrack as mentioned in the notes for the CD Deluxe Edition.

His voice can be heard in the group vocals of "We're Off to See the Wizard". Haley rerecorded Ebsen's solo parts later.

Bolger's original recording of " If I Only Had a Brain " was far more sedate than the version heard in the film. During filming, Cukor and LeRoy decided that a more energetic rendition would better suit Dorothy's initial meeting with the Scarecrow, and the song was rerecorded.

The original version was thought to be lost until a copy was discovered in The song "The Jitterbug", written in a swing style, was intended for the sequence in which the group is journeying to the Witch's castle.

Due to time constraints, the song was cut from the final theatrical version. The film footage for the song has been lost, although silent home film footage of rehearsals for the number has survived.

The sound recording for the song, however, is intact and was included in the two-CD Rhino Records deluxe edition of the film soundtrack, as well as on the VHS and DVD editions of the film.

A reference to "The Jitterbug" remains in the film: the Witch remarks to her flying monkeys that they should have no trouble apprehending Dorothy and her friends because "I've sent a little insect on ahead to take the fight out of them.

Another musical number cut before release came right after the Wicked Witch of the West was melted and before Dorothy and her friends returned to the Wizard.

This was a reprise of "Ding-Dong! The witch is dead! The Wicked Witch is dead! Today, the film of this scene is also lost, and only a few stills survive, along with a few seconds of footage used on several reissue trailers.

The entire audio track still exists and is included on the two-CD Rhino Record deluxe edition of the film soundtrack.

In addition, Garland was to sing a brief reprise of "Over the Rainbow" while Dorothy is trapped in the Witch's castle, but it was cut because it was considered too emotionally intense.

The original soundtrack recording still exists, however, and was included as an extra in all home media releases from onwards.

Extensive edits in the film's final cut removed vocals from the last portion of the film. However, the film was fully underscored , with instrumental snippets from the film's various leitmotifs throughout.

There was also some recognizable classical and popular music, including:. Principal photography concluded with the Kansas sequences on March 16, Reshoots and pick-up shots were filmed throughout April and May and into June, under the direction of producer LeRoy.

After the deletion of the "Over the Rainbow" reprise after subsequent test screenings in early June, Garland had to be brought back one more time to reshoot the "Auntie Em, I'm frightened!

The footage of Blandick's Aunt Em, as shot by Vidor, had already been set aside for rear-projection work, and was simply reused.

After Hamilton's torturous experience with the Munchkinland elevator, she refused to do the pick-ups for the scene in which she flies on a broomstick that billows smoke, so LeRoy had stunt double Betty Danko perform instead.

Danko was severely injured due to a malfunction in the smoke mechanism. At this point, the film began a long, arduous post-production. Herbert Stothart had to compose the film's background score, while A.

Arnold Gillespie had to perfect the various special effects that the film required, including many of the rear projection shots.

The MGM art department also had to create various matte paintings for the backgrounds of many of the scenes. One significant innovation planned for the film was the use of stencil printing for the transition to Technicolor.

Each frame was to be hand-tinted to maintain the sepia tone. During the reshoots in May, the inside of the farm house was painted sepia, and when Dorothy opens the door, it is not Garland, but her stand-in, Bobbie Koshay, wearing a sepia gingham dress, who then backs out of frame.

Once the camera moves through the door, Garland steps back into frame in her bright blue gingham dress as noted in DVD extras , and the sepia-painted door briefly tints her with the same color before she emerges from the house's shadow, into the bright glare of the Technicolor lighting.

This also meant that the reshoots provided the first proper shot of Munchkinland. If one looks carefully, the brief cut to Dorothy looking around outside the house bisects a single long shot, from the inside of the doorway to the pan-around that finally ends in a reverse-angle as the ruins of the house are seen behind Dorothy and she comes to a stop at the foot of the small bridge.

Test screenings of the film began on June 5, In , the average movie ran for about 90 minutes. LeRoy and Fleming knew they needed to cut at least 15 minutes to get the film down to a manageable running time.

The Witch Is Dead ", and a number of smaller dialogue sequences. This left the final, mostly serious portion of the film with no songs, only the dramatic underscoring.

MGM felt that it made the Kansas sequence too long, as well as being far over the heads of the target audience of children. The studio also thought that it was degrading for Garland to sing in a barnyard.

LeRoy, uncredited associate producer Arthur Freed and director Fleming fought to keep it in, and they eventually won.

The song went on to win the Academy Award for Best Song of the Year and came to be identified so strongly with Garland herself that she made it her theme song.

After the preview in San Luis Obispo in early July, the film was officially released in August at its current minute running time. They continued to perform there after each screening for a week.

Garland extended her appearance for two more weeks, partnered with Rooney for a second week and with Oz co-stars Ray Bolger and Bert Lahr for the third and final week.

The film opened nationwide on August 25, It was repeated on December 13, , and gained an even larger television audience, with a Nielsen rating of It became an annual television tradition.

The film was released multiple times to the home-video commercial market on a limited scale on Super 8 film 8 mm format during the s.

These releases include an edited English version roughly 10 minutes, and roughly 20 minutes , as well as edited Spanish versions.

In the s, a full commercial release was made on Super 8 on multiple reels. The film's first LaserDisc release was in In , there were two releases for the 50th anniversary, one from Turner and one from The Criterion Collection , with a commentary track.

Laserdiscs came out in and , and the final LaserDisc was released on September 11, It contained no special features or supplements.

On October 19, , Oz was re-released by Warner Bros to celebrate the picture's 60th anniversary, with its soundtrack presented in a new 5. The DVD also contained a behind-the-scenes documentary, The Wonderful Wizard of Oz: The Making of a Movie Classic , produced in and hosted by Angela Lansbury , which was originally shown on television immediately following the telecast of the film.

It had been featured in the "Ultimate Oz" LaserDisc release. Outtakes, the deleted "Jitterbug" musical number, clips of pre Oz adaptations, trailers, newsreels, and a portrait gallery were also included, as well as two radio programs of the era publicizing the film.

In , two DVD editions were released, both featuring a newly restored version of the film with an audio commentary and an isolated music and effects track.

One of the two DVD releases was a "Two-Disc Special Edition", featuring production documentaries, trailers, various outtakes, newsreels, radio shows and still galleries.

The other set, a "Three-Disc Collector's Edition", included these features, as well as the digitally restored 80th-anniversary edition of the feature-length silent film version of The Wizard of Oz , other silent Oz adaptations and a animated short version.

For this edition, Warner Bros. The restoration job was given to Prime Focus World. On December 1, , [66] three Blu-ray discs of the Ultimate Collector's Edition were repackaged as a less expensive "Emerald Edition".

A single-disc Blu-ray, containing the restored movie and all the extra features of the two-disc Special Edition DVD, became available on March 16, Many special editions were released in celebration of the film's 75th anniversary in , including one exclusively by Best Buy a SteelBook of the 3D Blu-ray and another by Target stores that came with a keepsake lunch bag.

Although the re-issue used sepia tone, as in the original film, beginning with the re-issue, and continuing until the film's 50th anniversary VHS release in , the opening Kansas sequences were shown in black and white instead of the sepia tone as originally printed.

This includes television showings. For the film's upcoming 60th anniversary, Warner Bros. In , the film had a very limited re-release in U.

On September 23, , the film was re-released in select theaters for a one-night-only event in honor of its 70th anniversary and as a promotion for various new disc releases later in the month.

An encore of this event took place in theaters on November 17, An IMAX 3D theatrical re-release played at theaters in North America for one week only beginning September 20, , as part of the film's 75th anniversary.

It was the first picture to play at the new theater and served as the grand opening of Hollywood's first 3D IMAX screen.

It was also shown as a special presentation at the Toronto International Film Festival. According to MPAA rules, a film that has been altered in any way from its original version must be submitted for re-classification, and the 3-D conversion fell within that guideline.

Surprisingly, the 3D version received a PG rating for "Some scary moments", although no change was made to the film's original story content.

The 2D version still retains its G rating. The film was re-released by Fathom Events on January 27, 29, 30, and February 3 and 5, as part of its 80th anniversary.

It also had a one-week theatrical engagement in Dolby Cinema on October 25, to commemorate the anniversary. The Wizard of Oz received widespread acclaim upon its release.

Writing for The New York Times , Frank Nugent considered the film a "delightful piece of wonder-working which had the youngsters' eyes shining and brought a quietly amused gleam to the wiser ones of the oldsters.

Not since Disney's Snow White and the Seven Dwarfs has anything quite so fantastic succeeded half so well. Nor can they, without a few betraying jolts and split-screen overlappings, bring down from the sky the great soap bubble in which Glinda rides and roll it smoothly into place.

According to Nugent, "Judy Garland's Dorothy is a pert and fresh-faced miss with the wonder-lit eyes of a believer in fairy tales, but the Baum fantasy is at its best when the Scarecrow, the Tin Man, and the Lion are on the move.

Writing in Variety , John C. Flinn predicted that the film was "likely to perform some record-breaking feats of box-office magic," noting, "Some of the scenic passages are so beautiful in design and composition as to stir audiences by their sheer unfoldment.

Harrison's Reports wrote, "Even though some persons are not interested in pictures of this type, it is possible that they will be eager to see this picture just for its technical treatment.

The performances are good, and the incidental music is of considerable aid. Pictures of this caliber bring credit to the industry. Leo the Lion is privileged to herald this one with his deepest roar—the one that comes from way down—for seldom if indeed ever has the screen been so successful in its approach to fantasy and extravaganza through flesh-and-blood Not all reviews were positive.

Some moviegoers felt that the year-old Garland was slightly too old to play the little girl who Baum intended his Dorothy to be.

Russell Maloney of The New Yorker wrote that the film displayed "no trace of imagination, good taste, or ingenuity" and declared it "a stinkeroo," [86] while Otis Ferguson of The New Republic wrote: "It has dwarfs, music, Technicolor, freak characters, and Judy Garland.

It can't be expected to have a sense of humor, as well — and as for the light touch of fantasy, it weighs like a pound of fruitcake soaking wet.

Roger Ebert chose it as one of his Great Films, writing that " The Wizard of Oz has a wonderful surface of comedy and music, special effects and excitement, but we still watch it six decades later because its underlying story penetrates straight to the deepest insecurities of childhood, stirs them and then reassures them.

In his critique of the film for the British Film Institute, author Salman Rushdie acknowledged its affect on him, noting " The Wizard of Oz was my very first literary influence".

In a retrospective article about the film, San Francisco Chronicle film critic and author Mick LaSalle declared that the.

The site's critical consensus reads, "An absolute masterpiece whose groundbreaking visuals and deft storytelling are still every bit as resonant, The Wizard of Oz is a must-see film for young and old.

However, for all the risks and cost that MGM undertook to produce the film, it was certainly more successful than anyone thought it would be.

The film had been enormously successful as a book, and it had also been a major stage hit, but previous attempts to bring it to the screen had been dismal failures.

Among the many dramatic differences between the film and the novel, The Wonderful Wizard of Oz , are the era , the character of Dorothy Gale , who is not given an age in the novel, but depicted as much younger than Judy Garland in the illustrations, and the magic slippers, which are silver.

We are not told the Tin Woodman's rather gruesome backstory in the film. He started off a human being and kept lopping off bits of himself by accident.

Baum's Oz is divided into regions where people dress in the same color.

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Monolink - Return To Oz (ARTBAT Remix)

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