Wizard of oz spiel

wizard of oz spiel

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Here you can find the links to the latest version of Wizard of Oz: 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 and the Tin Woodman was a criminal so heartless he was sentenced to be placed in a tin suit for eternity; this torture softened him into somebody gentler and kinder.

Afterwards, 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.

Noel Langley and poet Ogden Nash were also hired 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. 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.

In addition, Jack Haley and Bert Lahr are known to have written some of their own dialogue for the Kansas sequence. The final draft of the script was completed on October 8, , following numerous rewrites.

Along with the contributors already mentioned, others who assisted with the adaptation without receiving credit include: The original producers thought that a audience was too sophisticated to accept Oz as a straight-ahead fantasy; therefore, it was reconceived 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. Hunk the Kansan counterpart to the Scarecrow is leaving for agricultural college and extracts a promise from Dorothy to write to him.

Further, Dorothy lived inside a farmhouse which had its paint blistered and washed away by the weather, giving it an air of grayness.

The house and property were situated in the middle of a sweeping prairie where the grass was burnt gray by harsh sun. Aunt Em and Uncle Henry were "gray with age".

Effectively, the use of monochrome sepia tones for the Kansas sequences was a stylistic choice that evoked the dull and gray countryside. LeRoy had always insisted that he wanted to cast Judy Garland to play Dorothy from the start; however, evidence suggests that negotiations occurred early in pre-production for Shirley Temple to be cast as Dorothy on loan from 20th Century Fox.

The tale is almost certainly untrue, as Harlow died in , before MGM had even purchased the rights to the story.

The documentary The Wonderful Wizard of Oz: The Making of a Movie Classic states that Mervyn LeRoy was under pressure to cast Temple, then the most popular child star, but at an unofficial audition MGM musical mainstay Roger Edens listened to her sing and felt that an actress with a different style was needed; a 50th anniversary documentary for the film suggested that Temple, then years-old, was slightly too young for the part.

Actress Deanna Durbin , who was under contract to Universal Pictures , was also considered for the part of Dorothy.

Durbin, at the time, far exceeded Garland in film experience and fan base and both had co-starred in a two-reeler titled Every Sunday.

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 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 turned down the role and was replaced on October 10, , just three days before filming started, by MGM contract player Margaret Hamilton.

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.

But Baum biographer Michael Patrick Hearn says the Baum family denies ever seeing the coat or knowing of the story; Hamilton considered it a concocted studio rumor.

Filming commenced October 13, on the Metro-Goldwyn-Mayer studio lot in Culver City, California under the direction of Richard Thorpe replacing original director Norman Taurog , who filmed only a few early Technicolor tests and was then reassigned.

According to most sources, ten days into the shoot Ebsen suffered a reaction to the aluminum powder makeup he wore though he did recall taking a breath one night without suffering any immediate effect.

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.

This meant that all the scenes Garland and Hamilton had already completed had to be discarded and reshot. The makeup used for Haley was quietly changed to an aluminum paste, with a layer of clown white greasepaint underneath to protect his skin; although it did not have the same dire effect on Haley, he did at one point suffer an eye infection from it.

At first thought to be lost for over seven decades, a recording of this original version was rediscovered in 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.

Production on the bulk of the Technicolor sequences was a long and exhausting process that ran for over six months, from October to March Most of the cast worked six days a week and had to arrive as early as 4: All of the Oz sequences were filmed in three-strip Technicolor.

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. In later years, when the film became firmly established as a classic, Vidor chose not to take public credit for his contribution until after the death of his friend Fleming in Principal photography concluded with the Kansas sequences on March 16, ; nonetheless, reshoots and pick-up shots were filmed throughout April and May and into June, under the direction of producer LeRoy.

At this point, the film began a long arduous post-production. 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 the various matte paintings for the background 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; however, because this was too expensive and labor-intensive, it was abandoned and MGM used a simpler and less expensive variation of the process.

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 as she comes to a stop at the foot of the small bridge.

Test screenings of the film began on June 5, LeRoy and Fleming knew that at least 15 minutes needed to be deleted to get the film down to a manageable running time; the average film in ran for just about 90 minutes.

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.

One song that was almost deleted was "Over the Rainbow". MGM had 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 all 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.

Arnold Gillespie was the special effects director for the film. The tornado scene was especially costly. Gillespie used muslin cloth to make the tornado flexible after a previous attempt with rubber failed.

He hung the 35 feet of muslin to 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.

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

Hamilton was wearing her green makeup at the time, which was usually removed with acetone due to the toxicity of its copper content.

The film is widely noted for its musical selections and soundtrack. The song was ranked first in two lists: 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.

Several of the recordings were completed while Ebsen was still with the cast. Therefore, while he had to be dropped from the cast due to illness from the aluminum powder makeup, his singing voice remained in the soundtrack as noted in the notes for the CD Deluxe Edition.

Haley spoke with a distinct Boston accent , thus did not pronounce the r in wizard. By contrast, Ebsen was a Midwesterner , like Garland, and pronounced it.

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: Another musical number cut before release occurred 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 still exists and is included on the two-CD Rhino Record deluxe edition of the film soundtrack.

The original soundtrack recording still exists, however, and was included as an extra in all home media releases from onwards. There was also some recognizable popular music, including:.

The film opened nationwide on August 25, This includes television showings. Pictures released a "Special Edition" on November 6, , digitally restored with remastered audio.

In , the film had a very limited re-release in U. On September 23, , the film was rereleased 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 was released in theaters on November 17, 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, as the 3-D conversion fell within that guideline.

The 2D version still retains its G rating. The film was released multiple times for 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 of the classic.

Also, a full commercial release of it was made on Super 8 on multiple reels that came out in the s, as well, for the commercial market.

The first LaserDisc release of it was in , with two versions of a second one from Turner and one from The Criterion Collection with a commentary track for the 50th anniversary release in , a third in , a fourth in , a fifth in and a sixth and final LaserDisc release on September 11, In addition to VHS and later, LaserDisc , the film has been released multiple times during the s on the Betamax format, beginning in simultaneously with the VHS release.

Outside of the North American and European markets, the film has also been released multiple times on the Video CD format since the s in Asia.

It was re-released by Warner Bros. 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.

When the Lion Roars. For this edition, Warner Bros. The restoration job was given to Prime Focus World.

A single-disc Blu-ray, containing the restored movie and all the extra features of the two-disc Special Edition DVD, also became available on March 16, The film received much acclaim upon its release.

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.

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.

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 originally 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," [77] while Otis Ferguson of The New Republic wrote, "It has dwarfs, music, Technicolor, freak characters, and Judy Garland.

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.

Writer Salman Rushdie acknowledged " The Wizard of Oz was my very first literary influence" in his musings about the film. However, for all the risks and cost that MGM undertook to produce the film, it was considered at least 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.

Roughly 40 identifiable major differences exist between the original book and the MGM interpretation. The film was dramatized as a one-hour radio play on Lux Radio Theatre , which was broadcast on December 25, , with Garland reprising her earlier role.

In , a one-hour animated cartoon called Return to Oz was shown as an afternoon weekend special on NBC. In , the stage show The Wiz premiered on Broadway.

Its financing was handled by actor Geoffrey Holder. Its inspired revivals after it left the stage and an unsuccessful motion picture made in , starring Diana Ross as Dorothy and Michael Jackson as the Scarecrow.

In , Gregory Maguire published the novel Wicked: It toured from to , except for It features all of the songs from the film plus new songs written by Lloyd Webber and Rice.

It was a commercial success and received a mixed critical reception. In , now-defunct independent film company Clarius Entertainment released a big-budget animated musical film, Legends of Oz: The film was a box office bomb and was received negatively by critics largely for its plot and unmemorable musical numbers.

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