Author L. Frank Baum originally introduced us to the magical world of Oz in 1900. His initial novel, The Wonderful Wizard of Oz (the first of 14 books set in Oz that he penned), was subsequently turned into a 1902 stage musical as well as the classic film of 1939 starring Judy Garland. A non-musical (and underrated, in my opinion) movie sequel, Return to Oz, was released by Walt Disney Pictures in 1985 and quickly flopped at the box office. Now, Disney is trying again with a new film, Oz: The Great and Powerful, scheduled for release in 2013. It stars gay-friendly "it" boy James Franco in the title role and is being directed by Sam Raimi of the Evil Dead and Spider-Man series.
Wicked is no exception. The stage musical, which is also slated for eventual adaptation into a movie by Universal Studios, recounts the story of how the prickly, green-skinned Elphaba first met and befriended the vacuous but saintly Galinda. Whereas the former would become best known in Oz as "the Wicked Witch of the West," Galinda (nee "Glinda") ultimately became identified along with Dorothy as its savior. Maguire's novel and the theatrical interpretation of it serve as potent political commentary, in which Elphaba is revealed as having good intentions while the Wizard plots to subjugate the citizens of Oz to his self-serving will.
In addition to the return of Wicked, two new books have recently been published that continue to explore the lessons we can gain from Oz and its inhabitants. Now available is And Toto Too: The Wizard of Oz - A Spiritual Journey.
Written by Nathan Castle, a Dominican priest, it has been recommended by Rabbi Barton G. Lee as "of interest to all who ponder questions about God, ethics, and life's meaning(s) whatever their own religious background." And Maguire's fourth and final novel in his popular Wicked series, Out of Oz,was also released recently. Clearly, the land of Oz continues to cast a magic spell through a variety of media more than a century since L. Frank Baum dreamed it up.
Report by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.
“Gunga Din” (1939). One of the most sheerly enjoyable movies ever made, I’m afraid this film would not go over well today due to its treatment of the Indian population. Three British soldiers (Cary Grant, Douglas Fairbanks, Jr, and Victor McLaglen) single-handedly take on hordes of Kali-worshipping Thuggee cultists in colonial India. But the action is thrillingly staged and the byplay between the three soldiers is a joy to behold. I bet Steven Spielberg screened this one a lot before undertaking “Indiana Jones and the Temple of Doom” (1984).
“Stagecoach” (1939). The film that made John Wayne a star. Regardless of how you feel about Wayne, this is one of the greatest westerns ever. As I’ve noted in previous blog entries, I’m a sucker for movies set in confined and/or isolated settings and this film features both. Nine distinct characters with their own reasons take a stagecoach through hostile Indian territory. This was John Ford’s first film photographed in Monument Valley and his love for the locale is evident throughout. A western for people who don’t like westerns.
“The Wizard of Oz” (1939). Oddly, I never liked this one much as a kid. I don’t know why, and didn’t re-discover it until I was older. We didn’t have a color TV until I was a sophomore in high school, so the contrast between the black and white bookends and the rest of the film never resonated with me. I didn’t even watch the “Charlie’s Angels” tv show during the first season, because I would have watched it in black and white and what’s the fun in that? Oh yeah, back to “The Wizard of Oz.” Good movie.
“The Bank Dick” (1940). More W.C. Fields, and another one guaranteed to chase the blues away, offering one colossal belly laugh after another. Every frame is a jewel. Shemp Howard has one of his best roles as Joe the bartender. Ditto for Grady Sutton as the immortally named Og Oggilby.
“The Sea Hawk” (1940). Sorry for the redundancy – two swashbucklers in a row, but in 1940 the studio system was operating at such peak efficiency that they could seemingly turn out lavish swashbuckling adventure films in their sleep. The fact that there are so few four-star swashbucklers show how difficult it is to do these well, and this is one of the very best. Errol Flynn is the reckless English sea hawk, attacking Spanish navy vessels without the permission of Elizabeth I (Flora Robson). He’s captured and sentenced to chains on a Spanish galley for the rest of his life. When he escapes and hears about the plans for the Armada, it’s a race to England before the Armada can be launched. Flynn is at his peak here – a true original there’s never been anyone like him before or since. I wish Basil Rathbone were the English spy Lord Wolfingham, but Basil was over at Fox giving Tyrone Power fits in “Mark of Zorro.” Henry Daniell makes a fine substitute. Michael Curtiz again directs with his usual flair (love those giant shadows on the wall during the final duel) and the Korngold score offers some of the greatest music ever recorded to celluloid.
“The Thief of Bagdad” (1940). One of the greatest fantasy films ever, and one of the most physically beautiful viewing experiences of all time. Gorgeous Technicolor, sets and costumes, this is an Arabian Nights fantasy come to life. Conrad Veidt is the sorcerer Jaffar; I’m sure he gave nightmares to many a kid over the years. For a film with such a fractured production history (started in England, then moved to the U.S. when World War II broke out) and with three different directors credited, it’s a miracle the film turned out as well as it did. The bad thing about the gorgeous new DVD transfer on the Criterion label is they did such a splendid job one can now see the wires holding up the flying carpet. I pretend I don’t see them. The Miklos Rozsa score is pure music magic, one glorious melody after another.
