Wisard Of Oz HarperCollins
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: kinabarn.se Audiokommentar von Filmhistoriker; Märchenbuch 'The Wonderful Wizard of Oz'; Prettier than ever: Eine Legende wird restauriert; Wir wurden einander.
The Wonderful Wizard of Oz (The Wizard of Oz Series) (English Edition) eBook: Baum, L. Frank, Denslow, W. W., Hearn, Michael Patrick: kinabarn.se Audiokommentar von Filmhistoriker; Märchenbuch 'The Wonderful Wizard of Oz'; Prettier than ever: Eine Legende wird restauriert; Wir wurden einander. Veranstaltungen in Berlin: Der Zauberer von Oz. © Komische Based on the fairytale The Wonderful Wizard of Oz by Lyman Frank Baum; Libretto by Paolo.
Wisard Of Oz InhaltsverzeichnisBuy tickets. Baum ein Buch mit Gute Online Casinos Novoline Titel Zauberer von Oz. Hier konnte die Familie Schutz suchen, wenn einer dieser gewaltigen Wirbelstürme durchs Land zog, die so mächtig sind, dass sie jedes Gebäude vernichten, das sich ihnen in den Weg stellt. Als ein Wirbelsturm die Region Keno Aktuelle Gewinnzahlen, gelingt es Dorothy nicht mehr rechtzeitig, in den Sturmkeller zu flüchten. Darin verwendeten sie die Lieder des Filmklassikers von Deutscher Titel. Die Kritiken seines Buches waren unterschiedlich — wieder wurde es mit Hard Rock Seminole Casino Carrolls Alice im Wunderland verglichen und nicht immer fiel der Vergleich zu Gunsten von Baum aus. Mother Goose in Proseeine Sammlung von Kindergedichten, die von Maxfield Parrish illustriert war, wurde veröffentlicht. But as magical as this new world is, soon Dorothy feels homesick. Unterwegs auf Schuffle Dance Weg zur Stadt nimmt Dorothy die Vogelscheuche von dem Pfahl, an dem sie hängt; sie sorgt auch dafür, dass der Blechmann sich wieder bewegen kann, und ermutigt den Feigen Löwen, mit ihr in die Stadt zu reisen. Irem Erden Bauer. Um das Volk der Munchkins darzustellen, wurden insgesamt kleinwüchsige Schauspieler aus ganz Amerika verpflichtet. Heutige Literaturkritiker Dora Spiele Online dagegen reine Wortspiele, die auf zufälligen klanglichen Ähnlichkeiten beruhen, eher ab. Hill Company als 888 Casino For Free gewinnen konnten. Ergebnisse: 1 - 4 von 4. Dorothy glaubt nun, nie mehr heimzukommen, was sie sehr traurig macht, denn obwohl sie sich in Oz sehr wohlfühlt, ist es ihr sehnlichster Wunsch, wieder heimzukehren.
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Mike Massie. This benchmark of fantasy and adventure has reached a plateau very few films have - it has engrained itself in popular culture to the point of legend.
Allen Almachar. The Wizard of Oz first enchanted audiences with its escapist fantasy, "there's no place like home" has become a multilayered statement for our current times.
The words in both its melodies and dialogues have become a part of the vernacular, and their simply-put lessons "there's no place like home" still ring true.
Luke Parker. The Wizard of Oz will have people enchanted with its spell for a very long time. Elena de la Torre.
The world's favorite movie. Exciting, touching and big-hearted,The Wizard of Ozis the movie we most look forward to sharing with future generations.
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Please click the link below to receive your verification email. Cancel Resend Email. Add Article. The Wizard of Oz Critics Consensus 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.
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How did you buy your ticket? View All Videos 1. View All Photos Movie Info. Frank Baum's classic tale comes to magisterial Technicolor life!
The Wizard of Oz stars legendary Judy Garland as Dorothy, an innocent farm girl whisked out of her mundane earthbound existence into a land of pure imagination.
Dorothy's journey in Oz will take her through emerald forests, yellow brick roads, and creepy castles, all with the help of some unusual but earnest song-happy friends.
King Vidor , Victor Fleming. Oct 19, Judy Garland as Dorothy Gale. Billie Burke as Glinda the Good Witch. Charley Grapewin as Uncle Henry.
Clara Blandick as Auntie Em. Pat Walshe as Nikko. More Info Got It! Enter your email address below to subscribe to our weekly newsletter along with other special announcements from The Wizard of Odds!
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View Articles. Themselves uncredited Elvida Rizzo Ozmite uncredited Rad Robinson Munchkin Coroner voice uncredited Paul Rodriguez Dwarf uncredited Angelo Rossitto Munchkin Villager uncredited Ambrose Schindler Winkie uncredited Helen Seamon Woman with Cat uncredited Rolfe Sedan Oz Balloon Ascensionist uncredited Garland Slatten Munchkin Soldier uncredited Oliver Smith Ozmite uncredited Ruth Smith Munchkin Villager uncredited Katharine Snell Lion's Manicurist uncredited Robert St.
Winkie uncredited Parnell St. Munchkin Soldier uncredited Alta Stevens Munchkin Villager uncredited Elizabeth Stevens Munchkins voice uncredited Ralph Sudam Ozmite uncredited August Clarence Swenson Munchkin Soldier uncredited Betty Tanner Munchkin Villager uncredited Gus Wayne Munchkin Soldier uncredited Victor Wetter Munchkin Army Captain uncredited Harry Wilson Winkie uncredited Johnny Winters Munchkin Navy Commander uncredited Marie Winters Munchkin Villager uncredited Gladys V.
Munchkin Villager uncredited Murray Wood Preston Ames Scenic Artist uncredited John Coakley Wayne Hill Russell Spencer Gaither Jr.
Richard Stevens Arnold Gillespie McMillan Johnson Scott Farrar Harburg Paul Marquardt Technicolor color director Paul Adams Morgan uncredited Arthur Appell Connolly uncredited Maud Gage Baum LeRoy uncredited Betty Danko Lahr uncredited Arthur Freed Hamilton uncredited Jane Harrison Fleming uncredited Andy Hervey Garland uncredited Harry Link Connolly uncredited Harry Master Lahr uncredited John M.
LeRoy uncredited Freddie Retter Walshe uncredited Bill RichardsThe original producers thought that a audience was too sophisticated to accept Oz as a straight-ahead fantasy; therefore, it was re-conceived Williams Casino Games a lengthy, elaborate dream sequence. Kartenspiel Gratis Wonderful Wizard of Oz by Lucky Red Casino For Mac. Download as PDF Printable version. In one scene in the novel, the Wizard is seen as a Osprey Quasar, hairless head". Just confirm how you got your ticket. It has been translated or adapted into well over fifty languages, at times being modified in local variations. Upon their return, the Wizard stalls in fulfilling his promises until Toto pulls back a curtain and exposes the "Wizard" as a fraudulent Tore 2017 Wm man operating machinery. Horrified, Dorothy rushes home as a storm approaches; a tornado forms, and Aunt Em, Uncle Henry, Kolo Toure Transfermarkt the farmhands take shelter in the storm cellar as Dorothy arrives home. Library of Congress. John Canemaker. Frank Baum's novel, its sequels and Www Twitch Tv adaptations for stage, television, movies, radio, music videos, comic books, commercials and more. Lollipop Guild Member uncredited. Thalia: Infos zu Autor, Inhalt und Bewertungen ❤ Jetzt»The Wizard of Oz«nach Hause oder Ihre Filiale vor Ort bestellen! Veranstaltungen in Berlin: Der Zauberer von Oz. © Komische Based on the fairytale The Wonderful Wizard of Oz by Lyman Frank Baum; Libretto by Paolo. The Wizard Of Oz,Jede Reise bringt uns nach Hause. Als der Zauberer von Oz von L. Frank Baum im Jahr erschien, wurde er von den Kritikern gefeiert. So Dorothy and her friends take the yellow brick road to the Emerald City, to find the Wizard of Oz weitere Informationen. Verlag, Oxford University Press. Reihe. The Wizard of Oz ist die Geschichte von Dorothy, einem Mädchen, das mit ihrer Tante und ihrem Onkel auf einer Farm in Kansas lebt.
After Dorothy shares a tearful farewell with Scarecrow, Tin Man, and Lion, Glinda instructs her to tap her heels together three times, and state, "There's no place like home.
Everyone dismisses her adventure as it turned out to be a dream, but Dorothy insists it was real and says she will never run away again before declaring, "There's no place like home!
Production on the film began when Walt Disney 's Snow White and the Seven Dwarfs showed that films adapted from popular children's stories and fairytale folklore could still be successful.
The script went through several writers and revisions before the final shooting. Cannon , had submitted a brief four-page outline. In his outline, the Scarecrow was a man so stupid that the only employment open to him was literally scaring crows from cornfields, while the Tin Woodman was a criminal so heartless he was sentenced to be placed in a tin suit for eternity, torture that softened him into somebody gentler and kinder.
Afterward, LeRoy hired screenwriter Herman J. Mankiewicz , who soon delivered a page draft of the Kansas scenes and a few weeks later, a further 56 pages.
He also hired Noel Langley and poet Ogden Nash to write separate versions of the story. None of these three knew about the others, and this was not an uncommon procedure.
Nash delivered a four-page outline, Langley turned in a page treatment and a full film script. He [ who? Florence Ryerson and Edgar Allan Woolf submitted a script and were brought on board to touch up the writing.
They would be responsible for making sure the story stayed true to the Baum book. However, producer Arthur Freed was unhappy with their work and reassigned it to Langley.
Also, Jack Haley and Bert Lahr are known to have written some of their dialogue for the Kansas sequence. They completed the final draft of the script on October 8, , following numerous rewrites.
So anyhow, Yip also wrote all the dialogue in that time and the setup to the songs and he also wrote the part where they give out the heart, the brains, and the nerve, because he was the final script editor.
And he — there was eleven screenwriters on that — and he pulled the whole thing together, wrote his own lines and gave the thing a coherence and unity which made it a work of art.
But he doesn't get credit for that. He gets lyrics by E. Harburg, you see. But nevertheless, he put his influence on the thing. The original producers thought that a audience was too sophisticated to accept Oz as a straight-ahead fantasy; therefore, it was re-conceived as a lengthy, elaborate dream sequence.
Because of a perceived need to attract a youthful audience through appealing to modern fads and styles, the score had featured a song called "The Jitterbug", and the script had featured a scene with a series of musical contests.
A spoiled, selfish princess in Oz had outlawed all forms of music except classical and operetta and went up against Dorothy in a singing contest in which her swing style enchanted listeners and won the grand prize.
This part was initially written for Betty Jaynes. Another scene, which was removed before final script approval and never filmed, was an epilogue scene back in Kansas after Dorothy's return.
Hunk the Kansan counterpart to the Scarecrow is leaving for an agricultural college and extracts a promise from Dorothy to write to him.
The scene implies that romance will eventually develop between the two, which also may have been intended as an explanation for Dorothy's partiality for the Scarecrow over her other two companions.
This plot idea was never totally dropped, but is especially noticeable in the final script when Dorothy, just before she is to leave Oz, tells the Scarecrow, "I think I'll miss you most of all.
Much attention was given to the use of color in the production, with the MGM production crew favoring some hues over others. It took the studio's art department almost a week to settle on the shade of yellow used for the yellow brick road.
Several actresses were reportedly considered for the part of Dorothy, including Shirley Temple , at the time, the most prominent child star; Deanna Durbin , a relative newcomer, with a recognised operatic voice; and Judy Garland , the most experienced of the three.
Officially, the decision to cast Garland was attributed to contractual issues. Now unhappy with his role as the Tin Man reportedly claiming, "I'm not a tin performer; I'm fluid" , Bolger convinced producer Mervyn LeRoy to recast him in the part he so desired.
Fields was originally chosen for the title role of the Wizard, a role turned down by Ed Wynn as he thought the part was too small, but the studio ran out of patience after protracted haggling over Fields' fee.
Wallace Beery lobbied for the role, but the studio refused to spare him during the long shooting schedule.
Instead, another contract player, Frank Morgan , was cast on September An extensive talent search produced over a hundred little people to play Munchkins; this meant that most of the film's Oz sequences would have to already be shot before work on the Munchkinland sequence could begin.
Meinhardt Raabe , who played the coroner, revealed in the documentary The Making of the Wizard of Oz that the MGM costume and wardrobe department, under the direction of designer Adrian , had to design over costumes for the Munchkin sequences.
They then had to photograph and catalog each Munchkin in his or her costume so that they could correctly apply the same costume and makeup each day of production.
Gale Sondergaard was originally cast as the Wicked Witch. She became unhappy when the witch's persona shifted from sly and glamorous thought to emulate the wicked queen in Disney's Snow White and the Seven Dwarfs into the familiar "ugly hag".
Sondergaard said in an interview for a bonus feature on the DVD that she had no regrets about turning down the part, and would go on to play a glamorous villainess in Fox's version of Maurice Maeterlinck 's The Blue Bird in ;  Margaret Hamilton played a role remarkably similar to the Wicked Witch in the Judy Garland film Babes in Arms According to Aljean Harmetz, the "gone-to-seed" coat worn by Morgan as the wizard was selected from a rack of coats purchased from a second-hand shop.
According to legend, Morgan later discovered a label in the coat indicating it had once belonged to Baum, that Baum's widow confirmed this, and that the coat was eventually presented to her.
But Baum biographer Michael Patrick Hearn says the Baum family denies ever seeing the coat or knowing of the story; Hamilton considered it to be a rumor concocted by the studio.
Filming for The Wizard of Oz started on October 13, on the Metro-Goldwyn-Mayer studio lot in Culver City, California , with Richard Thorpe as director, replacing the original director, Norman Taurog , who filmed a few early Technicolor tests and was then reassigned.
Thorpe initially shot about two weeks of footage, nine days in total, involving Dorothy's first encounter with the Scarecrow, as well as a number of sequences in the Wicked Witch's castle, such as Dorothy's rescue, which, though unreleased, includes the only footage of Buddy Ebsen 's Tin Man.
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;  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, ,  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,"  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. Munchkins, for example, all wear blue. Obviously this did not lend itself to the brilliant palette that was the hallmark of Technicolor films at the time.
Dorothy's adventures in the book last much longer and take her and her friends to more places in Oz. In the end, her friends are invited to rule different areas of Oz.
In some cases—including the Scarecrow, the Tin Woodman, the Munchkins in style if not color , Dorothy's long pigtails and the unusual Oz noses—the film's designers were clearly inspired by the book's illustrations by William Wallace Denslow.
In others, including the costumes for the witches, good and bad, they created their own visions of Oz. An official sequel, the animated Journey Back to Oz starring Liza Minnelli , Garland's daughter, was produced to commemorate the original film's 35th anniversary.
Marvel planned a series of sequels based on the subsequent novels. The first, The Marvelous Land of Oz , was published later that year.
The next, The Marvelous Ozma of Oz was expected to be released the following year but never came to be. With a darker story, it fared poorly with critics unfamiliar with the Oz books and was not successful at the box office, although it has since become a popular cult film , with many considering it a more loyal and faithful adaptation of what L.
Frank Baum envisioned. It was a commercial success but received a mixed reception from critics. In , independent film company Clarius Entertainment released a big-budget animated musical film, Legends of Oz: Dorothy's Return ,  which follows Dorothy's second trip to Oz.
The film fared poorly at the box office and was received negatively by critics, largely for its plot and unmemorable musical numbers. The Wonderful Wizard of Oz is America's greatest and best-loved home grown fairytale.
The first totally American fantasy for children, it is one of the most-read children's books In , Aljean Harmetz wrote The Making of The Wizard of Oz , a detailed description of the creation of the film based on interviews and research; it was updated in Because of their iconic stature,  the ruby slippers worn by Judy Garland in the film are now among the most treasured and valuable film memorabilia in movie history.
Adrian , MGM's chief costume designer, was responsible for the final design. There are five known pairs of the ruby slippers in existence.
From Wikipedia, the free encyclopedia. Frank Baum. Oct 19, Judy Garland as Dorothy Gale. Billie Burke as Glinda the Good Witch.
Charley Grapewin as Uncle Henry. Clara Blandick as Auntie Em. Pat Walshe as Nikko. Lee Murray as Winged Monkey. The Singer Midgets as Munchkins.
George Ministeri as Coach Driver. Harlan Briggs as Uncle Henry's Double. Jerry Maren as Guild Leader. Yvonne Moray as League Dancer.
Tyler Brooke as Ozmite. Adriana Caselotti as Juliet. Pinto Colvig as Munchkin. Billy Curtis as City Father.
Major Doyle as Munchkin uncredited. Daisy Earles as Munchkin Villager. Harry Earles as Guild Singer. Charles Irwin as Ozmite. Lois January as Cat Owner.
Mitchell Lewis as Head Winkie. Walter Miller as Bespectacled Munchkin. Frank Packard as Munchkin uncredited.
Lillian Porter as Munchkin uncredited. Jimmy Rosen as Munchkin uncredited. Oliver Smith as Ozmite. Terry as Toto. Carol Tevis as Munchkin.
Bobby Watson as Ozmite. Gus Wayne as Munchkin. Abe Dinovitch as Munchkin. Clarence Swensen as Munchkin. 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.
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