The perfect balance between art, childhood, fun, a nice message and good interpretations.
“Somewhere, over the rainbow …”
Usually when a film has sudden changes in his team during the course of the project, the end result leans dubious results. However, The Wizard of Oz exceeded all their three substitutions of directors (there were four in total), and led by Victor Fleming-around, managed to sign his name in history as one of the best films of all time. Able to implement its universal message to ultra-ripening of today’s youth about the love of the homeland and the value of family, even though in the real world things are very different.
But it is easy to understand why the film, even with so much change in his command, prevailed with a final high quality: the era of the famous Hollywood movie producer, where they had total control over what was being done and its very few directors could independence from that rule the market. That is, even with so many people put his hand to direct the film, MGM’s producers knew exactly what they wanted and kept all the work on the line.
Victor Fleming took over much of the production and had to manage an innovative technique: color. That was a little before he quit the film in order to break a branch for Selznick International Pictures: nothing more, nothing less than the immortal epic Gone with the Wind. Fleming not only ran the sequences in black and white, passed in Kansas, which were due to King Vidor – it is a technical uniformity, no glaring differences in management style in the whole movie, it’s all the same, it seems like run by the same person, due to restrictions imposed by art studios at the time, which is hard to see continuity in the work of filming. Mervyn LeRoy was answerable only to finish shooting that Fleming had not yet done and Richard Thorp, the first of directors, was not even a scene in its final version of the film, he was fired by the studio because he was not achieved the expected results – the famous artistic difference between studio and director.
By now everyone knows the story: Dorothy (Judy Garland), afraid of losing her beloved dog Toto, flees his home in Kansas. During the escape, she falls in with a fake psychic, who tells her that her Aunt Em (Clara Blandick) is suffering from its lack, which makes Dorothy promptly run back to his home. When he arrives, dragging a hurricane Dorothy’s house, with her inside, to a fantasy world with elves, witches and lots of magic, known as Oz. Determined to return home, the Good Witch of the North who explains to him that can help you return to Kansas is a great magician, who lives at the end of the trail of yellow brick. En route, she meets three great friends who can also help the magician: the Scarecrow who wants a brain, the Tin Man who wants a heart, and the Lion, who just wants the courage to be a true king. The problem is that the landing of the house in Oz, Dorothy he killed the sister of a very nasty witch, who is thirsting for revenge.
Judy Garland Dorothy lends an extremely naive and captivating look, thanks to this, we believe in its determination to return home and willingness to help everyone who crosses his path. In one of the best moments of the movie when she sings the immortal Over The Rainbow, it is impossible not to be hypnotized on the screen – is simply one of my favorite scenes of all time. And to think that music should have been sung again by her in the movie when Dorothy is trapped in the witch’s tower, but in a sad version, which could generate more than a moment to absolutely outstanding work, but because of the attack cries Judy, who found the scene so sad, it did not materialize.
And what about the unforgettable performance of Margaret Hamilton playing the Wicked Witch of the West and becoming one of the icons of cinema? The role originally was Gale Sondergaard, who wanted to give an air of Snow White and the Seven Dwarfs (released two years before) to his character, but did not want to appear as ugly in film, let the paper fall into the lap of Margaret, who did not disappoint. Already Ray Bolger, the Scarecrow, should stay with the Tin Man, but for being a fan of actor Fred Stone, who played the character on Broadway in 1903, managed to change paper and, like Margaret, performs a remarkable interpretation, clearly with theatrical tone, hitchhiking with his greatest idol.
Already Buddy Ebsen, who played the Scarecrow, eventually accepted the exchange and got the Tin Man, who could not only play the character because of the toxic content coming from the aluminum used in making clothing. It was up to replace the actor Jack Haley, unaware of the toxins, using only a special cloth to reduce the effect of which would be exposed. Another paper that won the last time was Bert Lahr, who played the Lion, since the production had even considered the possibility of using a real lion in the paper, with an actor doing his voice in post-production. One of the funniest characters of the film.
In the technical requirement, can not help but be amazed by the obvious: a world in black and white and sad about the war, nothing like the color and joy to all animate. From the very moment when Dorothy passes through the door of his house recently docked in Oz until the final moment, every color seems to have been thought to mean something millimeter within the context of the film. It’s amazing how such a new technique has been used so efficiently by the art and photography, Harold Rosson. The theatrical inspiration is obvious, but instead we get annoyed with the world so false, it becomes very real for the competence with which everything is accomplished. Notice how some plants, green plastic, are clearly false, but never seem ridiculous or poorly made. It’s all pretty absurd, since the small details up to the giant paintings that serve as background for the sequences.
Simply one of the best movies ever made and the perfect example of a tape that children need not be fool to amuse. The perfect balance between art, childhood, fun, a nice message and good interpretations.
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