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フォーマット	色, ドルビー, オリジナルレコーディングのリマスター
コントリビュータ	ジュディ・ガーランド, レイ・ボルジャー, ビクター・フレミング, フランク・モーガン, バート・ラー
言語	英語, 日本語
稼働時間	1 時間 41 分

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ミュージカル・ファンタジーの永遠の名作。超豪華な特典を収録して登場!

愛犬トトを抱きしめたまま竜巻に巻き上げられたドロシーは、魔法の国へと迷い込んでしまう…。"脳みそのない案山子"、"ハートのないブリキのきこり"そして"勇気のないライオン"たちと繰り広げる、願いをかなえる不思議な冒険の旅。
アカデミー賞作曲・主題歌賞/特別賞を受賞した本作品の魅力が堪能できるよう、高画質ニューマスター版、オリジナル音声は5.1chを採用。また、ボリュームたっぷりの豪華な映像や音声の特典がついた特別版として登場。

映像特典(約101分)…1.メイキング(50:46)、2.オリジナル劇場予告編(8:13)、3."オズ"の歴史(3:31)、4."オズ"のその後(8:57)、5.スチール・コレクション&ドキュメンタリー映像集(18:01)、6.未公開シーン集(11:37) 音声特典(約11時間)…1.ジュークボックス(リハーサルやテイク集等の音声を収録)、2.MGMラジオショー(当時のラジオ番組の収録)、3.MGMラジオ・コマーシャル(当時のラジオスポットを収録)

Amazonより

愛犬トトと一緒に竜巻に巻き上げられ、魔法の国へと迷い込んでしまった少女ドロシーが、「脳みそのないかかし」「ハートのないブリキのきこり」「勇気のないライオン」らとともに繰り広げる冒険の旅。アカデミー賞作曲・主題歌賞＆特別賞を受賞の、映画史上に残るミュージカル・ファンタジー。
現実をモノクロ、魔法の国を総天然色とも呼ぶべき、けんらんたるカラーで描き分けたビクター・フレミング監督の手腕が光るが、それ以上にドロシーを演じたジュディ・ガーランドの愛らしさが、いつまでも心に残る。もはや名曲としか呼びようのない「オーヴァー・ザ・レインボウ」のすばらしさ！その後、オール黒人キャストによる『ウィズ』が製作されたり、『ツイスター』『フェイス／オフ』などでもオマージュが捧げられるなど、いつの世も輝きを失わない名作中の名作。（的田也寸志）

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登録情報

アスペクト比 ‏ : ‎ 1.33:1
メーカーにより製造中止になりました ‏ : ‎ いいえ
言語 ‏ : ‎ 英語, 日本語
EAN ‏ : ‎ 4988135527394
監督 ‏ : ‎ ビクター・フレミング
メディア形式 ‏ : ‎ 色, ドルビー, オリジナルレコーディングのリマスター
時間 ‏ : ‎ 1 時間 41 分
発売日 ‏ : ‎ 2000/7/14
出演 ‏ : ‎ ジュディ・ガーランド, フランク・モーガン, レイ・ボルジャー, バート・ラー
字幕: ‏ : ‎ 日本語
言語 ‏ : ‎ 英語 (Dolby Digital 5.1), 日本語 (Mono)
販売元 ‏ : ‎ ワーナー・ホーム・ビデオ
ASIN ‏ : ‎ B00005HC5D
ディスク枚数 ‏ : ‎ 1

Amazon 売れ筋ランキング: - 109,207位DVD (DVDの売れ筋ランキングを見る)
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- - 929位外国のファンタジー映画

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この商品をレビュー

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レビューのソート基準

上位レビュー、対象国：日本

レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。

panpancube

犬の芸達者さがあまりにすごい

2024年4月6日に日本でレビュー済み

Amazonで購入

まず、終始犬の演技がすさまじい。カメラすら意識したかのように常に演者に最適な距離を追従している。淀みなくカートゥーン的けれん味を持っていて、恐れたり他に意識を向けることもなく完璧なマスコットキャラとして動く。崖から降りるシーンなんか昨今のCGで代用してるかのような無駄のない動きだった。(カカシに飛んできたカラスの演技もすごかったが)

オズの魔法使いは1900年に原作が作られ1939年にこの映画が作られた。この監督なんと同年に「風と共に去りぬ」も劇場公開している。そしてこの映画の公開の次の月、1939年9月に第二次世界大戦が勃発した。
この映画を見たナチス政権時のドイツの大臣がこの映画に感銘を覚え特撮ファンタジーものを作りあげたらしい。

何度か巻き戻しても仕組みのわからない技術の特撮が見受けられたり、マットペイントの描き割り背景が美しかったり、シーンのつなぎもスムーズで”アラ”に気を削がれず令和の今見ても没頭できた。

ただしストーリー展開は幼児向けなのでそういう面での刺激は薄味だったが、当時できる範囲の高級技術やスタジオ全体の作り込み、白黒映画かと思わせて突然テクニカラーで異世界を演出するなどの大小さまざまな”大人の本気”が見られてモノづくりに対する熱意を静かに浴びれる作品だった。

小さい頃からこの作品の存在は知っていたが、ただただあり得ない世界の、ほのぼのファンタジーだとしか思ってなかったので、ラストでついに対面できた大魔法使いのオズが、実は現代機械技術を駆使したリアル世界の住人で、異世界で魔法使いを演じハッタリで生きてきた大学教授(もうやめたい)という事実を初めて知ったのでそこはすごく新鮮だった。

ホラー映画「ミッドサマー」公開時にアリアスター監督が「この作品は変態版のオズの魔法使いだ」といっていたが、作品中、たくさんの符号が見受けられてそれも面白かったw

とにかく犬に注目すると何か奇跡でも起きてるのかと疑うような作品です。

1人のお客様がこれが役に立ったと考えています

役に立った

monsoon

とても夢のある

2024年3月23日に日本でレビュー済み

Amazonで購入

とても夢のあるお話です。
モヤモヤしていた心がリセットされました。
ドロシーは夢の中で沢山友達と冒険の旅に出て大切なものを手に入れました。
みんなの心の中にある優しい気持ちになれました。
とても楽しい時間でした。

1人のお客様がこれが役に立ったと考えています

役に立った

川村直城

懐かしく思い干渉しました

2023年7月17日に日本でレビュー済み

Amazonで購入

画面が美しい。

1人のお客様がこれが役に立ったと考えています

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キャスパー

若い人が見れば良いと思います。

2023年6月29日に日本でレビュー済み

Amazonで購入

童話の世界で描写されているので、大人だと物足りなさがあります。

1人のお客様がこれが役に立ったと考えています

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トシパパ

『STAR WARS』の元ネタは『隠し砦』よりコレ…!?

2023年7月7日に日本でレビュー済み

Amazonで購入

『オズの魔法使』(The Wizard of Oz)('39)
出演∶ドロシー=ジュディ・ガーランド
カカシ/ハンク=レイ・ボルジャー
ブリキ男/ヒッコリー=ジャック・ヘイリー
ライオン/ジーク=バート・ラー
グリンダ(北の良い魔女)=ビリー・バーク
ミス・ガルチ/西の悪い魔女=マーガレット・ハミルトン
オズの大魔法使い/占い師マーヴェル/御者/門番=フランク・モーガン
ヘンリーおじさん=チャールズ・グレープウィン
エムおばさん=クララ・ブランディック

監督：ヴィクター・フレミング

ヨーロッパやアジアの古い歴史を持つ国には､大昔から伝わる神話·伝説·お伽話がある。だが､15世紀末に新大陸として発見され､ヨーロッパからの移民によって建国されたアメリカ合衆国は､その手の神話やお伽話を持たない……と昔､何かに書いてあった。そんな背景があって､1900年代初頭にライマン·フランク·ボームによって書かれた童話『オズの魔法使』は､大いに受けたのであろう……と｡(実在の英雄や大悪党を"神話化"したような西部劇が多いのも同じ理由だ……という説も…)

童話『オズの魔法使』は､1902年には､早くも舞台劇ミュージカル化されたらしい。そして､1939年に映画化されたのが､本作『オズの魔法使』ということだ。基本的なストーリーは､他の国の数多の童話や伝説·英雄譚と似たパターン。異国に出向いた(飛ばされた?)主人公が､旅の道連れになった仲間たちと､冒険を繰り広げ､悪を倒す話である。大概の人はご存知と思うが､知らない方のために､簡単にまとめると……。

[物語] アメリカ､カンザスの農場でエムおばさん(ブランディック)､ヘンリーおじさん(グレープウィン)と暮らす少女ドロシー(ガーランド)が主人公。愛犬トトや農場の下働きのハンク(ボルジャー)·ヒッコリー(ヘイリー)·ジーク(ラー)､それに意地悪な地主のミス·ガルチ(ハミルトン)や怪しげな占星術師マーヴェル(モーガン)らもいて､賑やかな日々を送っていた。

ある日､農場を巨大な竜巻が襲い､逃げ遅れたドロシーと愛犬トトは､家もろとも遥か彼方に吹き飛ばされる。落下したのは､何処とも知れぬ極彩色の"オズの魔法の国"。落下した家の下敷きになって死んだのは､"東の悪い魔女"。ドロシーは､そこに現れた北の良い魔女グリンダ(バーク)や､その地で東の魔女に支配されていた小人族マンチキンたちから英雄に祭り上げられ大歓迎を受ける。

カンザスに帰りたいと願うドロシーに､グリンダはエメラルド·シティにいるオズの大魔王を尋ねるよう薦める。エメラルド·シティを目指すドロシーの前に､"知恵"が欲しいワラのカカシ男(ボルジャー)､"心"が欲しいという木こりのブリキ男(ヘイリー)､"勇気"が欲しい臆病なライオン(ラー)が次々現れ､魔王に願いを叶えてもらうため､旅の道連れとなる。

そんな彼らの行く手を阻むのは､西の悪い魔女(ハミルトン)と､その手下の空飛ぶ猿軍団。西の魔女が狙うのは､死んだ東の魔女が履いていて､グリンダがドロシーに与えた赤いルビーの靴。魔女にとっては､強い"力"をもたらす魔法の靴らしい。艱難辛苦の果てにエメラルド·シティにたどり着いた彼らの前に現れた大魔王(モーガン)は､彼らの望みを叶えてくれるのか……!?

よくあるおとぎ話のパターンである。日本で言えば､猿､犬､キジにキビダンゴを与え､彼らを助っ人に鬼ヶ島へ殴り込んだ(?)桃太郎だ……とか､類推をしていて､ふと思ったのが『スター·ウォーズ』との類似。(こじつけっぽいが､)ドロシーがレイア姫。カカシ､ブリキ男､ライオン､愛犬トトが､ルーク·スカイウォーカー､ハン·ソロ､チューバッカ､C-3POにR2-D2……こじつけが過ぎますか？(笑)　良い魔女グリンダが､オビ·ワン·ケノービで､西の悪い魔女が､ダース·ベイダー……とかね。

『スター·ウォーズ(S.W.)』のストーリーの元ネタが､黒澤明の『隠し砦の三悪人』であることは､ジョージ·ルーカス監督が認めてるし､映画冒頭から登場する百姓上がりの落武者·太平(千秋実)と又七(藤原釜足)のキャラは､明らかにC-3POとR2-D2の原型だろう｡『S.W.』の大スジも､概ね『隠し砦〜』に沿っている。しかし､(これもこじつけだが､)『桃太郎』とか『オズの魔法使』が､『隠し砦〜』の元ネタ……ということも考えられなくはない(!?)

まぁ､そういう"こじつけ類推"をするなら､ドロシー=水戸黄門で､カカシ·ブリキ男·ライオン·トト=助さん·格さん·風車の弥七·うっかり八兵衛(……あ､由美かおるは誰だ!?)……てな具合に､とんでもない想像が膨らんでしまいそう(笑)　ともかく､このパターンは､万国共通で､いつの時代でも愛される物語(英雄譚)なんですね。

[余談] この『オズ』の物語を初めて知ったのは､'70年代に日本のTVで､週一で放映された30分ドラマ『オズの魔法使い』でした。ドロシー役は歌手·タレントのシェリー(この10数年TVでよく見るSHELLYではない)。ブリキ男が常田富士男で､魔女(どっちの?)が千石規子だったと記憶している。NHKの人形劇で育った世代には､なんとなく馴染みやすい外国童話でした。赤と青のセロハンを使うと(一部)画像が立体的に見えるという"元祖3Dテレビ"でした。

[もひとつ余談] 『オズの魔法使』の二人の"魔女女優"。全然ジャンル違いの作品でも､その姿を見て懐かしさを覚えました。良い魔女グリンダのビリー·バークは､ジョン·フォード監督の西部劇『バファロー大隊』で､軍法会議の裁判長夫人役。夫人仲間と共に､着飾って物見遊山で法廷見物に現れ､裁判長の夫に追い出されてました(笑)　悪い魔女のマーガレット·ハミルトンは､ヘンリー·フォンダ主演の西部劇『牛泥棒』に､無愛想でコワイ"魔女風"の家政婦役で出てました。

2人のお客様がこれが役に立ったと考えています

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火星のプリンス

名作中の名作

2023年11月18日に日本でレビュー済み

Amazonで購入

映画の良さにとって古いか新しいかが全く関係ないことがわかる典型です

4人のお客様がこれが役に立ったと考えています

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鹿野山

一人二役それ以上

2023年6月12日に日本でレビュー済み

Amazonで購入

この映画の特徴を列挙します。
すばらしい音楽、当時とすれば極めて鮮やかなカラー映像。
登場人物の歌唱力の高さ。特にドロシーを演じたジュディ・ガーランド。
誰もが納得できるストーリー。ちょっと驚く工夫が複数ある。

少々、疑問に思う点もあり。
ミュージカルということで歌を多数入れる都合で、途中までに時間とりすぎて最後が駆け足になっている。原作を尊重したらしいが悪い魔女は弱すぎるだろう。

原作はアメリカの有名な童話で、もっと多くのエピソードを含みます。この映画は、後半を少々省略したようです。
この映画の「ちょっと驚く工夫」とは、登場人物が一部一人二役で出ているところ。ドロシーが夢の国であった、かかし、ブリキ男、ライオンは実はドロシーの間近くにいる人物でした。最初は分かりませんでしたが、最後まで見て納得しました。

おそらく「幸せの青い鳥はすぐ近くにいある」ということを強調したかったのでしょう。それから、これは調べて分かったのですが、オズの魔法使いは他にもいっぱい役を演じていました。

1人のお客様がこれが役に立ったと考えています

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Kindleのお客様

テクニカラーの派手な色調がよい

2022年10月27日に日本でレビュー済み

Amazonで購入

普通のカラーよりも映えている！　納得のおとぎ話っぽさが醸し出されていて、絶妙。

当時１６歳くらいのジュディ・ガーランドは童顔に加えて幼児的なファッションを身にまとっているが、すらっとした手足が格好良く、かなりの逸材であったことがわかる。
特殊効果もよくできているし、相当カネがかかっている贅沢さが伝わってくる。

この作品がジュディ・ガーランドを一気に人気女優に押し上げたわけだが、製作中にはセクハラ、パワハラ、暴力、健康被害、などなど、数々の苦難が彼女に押し寄せ、その精神を破壊してしまったわけで、手放しに素晴らしいとは言いづらい。

芸術だからといって、人を犠牲にしても良いわけはないのである。

4人のお客様がこれが役に立ったと考えています

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他の国からのトップレビュー

すべてのレビューを日本語に翻訳

Client d'Amazon

beau film apprécié pour les fêtes, rêves et féerie.

2023年12月31日にベルギーでレビュー済み

Amazonで購入

pour les fêtes, un autre genre, plus féerique.

レビューを日本語に翻訳する

kuppens carine

Superbe film

2024年5月22日にフランスでレビュー済み

Amazonで購入

Toute mon enfance à été bercée par ce superbe film
Ravie de l'avoir trouvé ici et peu chère en plus .
Trop contente je le recommande

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Vi11ain

Over 16 hours of special features and beautiful stereoscopic 3D feature film restoration

2021年2月23日にインドでレビュー済み

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A movie which released 83 years ago by this time of my writing - still stands testament to its time by being enjoyable and truly magnificent.
The 3D and 1080p restoration has been so well done and makes this blu ray worth every penny you drop on it.
Its a must have for any home video collector and the 16 hours of special features is no joke.
Disc 1 - Feature film in 3D + some minimal special features
Disc 2 - More special features
Disc 3 - More more special features.
Eventhough its not the limited collected release India has got, for a discounted price of 750 bucks I had my money's worth!

レビューを日本語に翻訳する

Suzanne

My Ode to the Immortal Magic of Oz

2010年3月2日にアメリカ合衆国でレビュー済み

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ON THE DVD:

The film itself doesn't really need reviewing, and yet the bulk of this monstrous review is dedicated to it. I'll admit my own personal selfishness and a desire for catharsis that lead me to write so much; but hopefully those who love Oz will find it a worthy tribute. The real question is about the new discs themselves; available in no less than 3 editions (6 if you count the blu-ray / standard as separate) in 2 and 3 disc sets as well as a 70th Anniversary Box set; which is the one I bought. All I really need to say is that this is the kind of treatment the film deserves. Others have already provided a thorough account of the box's contents and the extras; I especially commend William Sommerwerck for his detailed review on the quality of the image transfer, the blu-ray/standard disc comparison and his review of the extras. Really, the box is a seemingly inexhaustible treasure trove that's as gorgeous to look at as it is fun to dig through and use. The 3 discs themselves have hours and hours of extras; none of which I've experienced yet besides the excellent commentary for the film. The bottom line is that if you're a huge fan of the film, buy the box set now before supplies run out; I got set #242,200 of 243,000. If you don't want to invest in the whole shebang, the 3-disc Emerald set has the same DVD features without all of the extras like the huge, beautiful booklet, the watch, the production packet and notes, etc.

ON THE FILM:

Ultimately, this review will have to be less of a review and more of a celebratory ode to one of my absolute favorite films; currently #7 on my Top 200 list. How does one review a work of art that has been an integral part of their life since their earliest memories of childhood? I vividly remember my early viewings of the film which I shared with my cousin. First on TV, then on VHS recorded from TV. Over and over again. We memorized every song, every line, every background musical queue. When I got older and my mom took me to school we would walk part of the way singing "We're Off to See the Wizard". My cousin and I would put on plays of it for our family. My mom could entertain us for ages with her "If I Were King of the Forest" impersonation. And I get the sense that I am far from alone in my experiences of the film being one of those indelible parts of my life. Indeed, it seems that The Wizard of Oz is less a film that belongs to cinema and more a work of art that belongs to American mythology. Like all great mythology it works on the simplest of levels; with age-old archetypes and themes. If one were to distill them from the film itself it would appear little more than a cliche. But the beauty of The Wizard of Oz, like all mythologies, isn't the simplistic truths expressed through it, but the unforgettable way in which they're expressed. In truth, The Wizard of Oz almost perfectly follows what Joseph Campbell termed the monomyth; starting with the familiar, lead by some call to adventure, advancing to the realm of the unknown by a supernatural force, there encountering mentors and helpers, facing the evil the world has, vanquishing it, and returning home with the gift one achieved there. It's even complete with the magical item MacGuffin in the form of the Ruby Slippers.

But Oz is infinitely more than some archetypal structure. Ultimately, form is only as effective as what an artist chooses to fill it with, and I would argue it has rarely ever been filled as brilliantly as in Oz. Oz's production is so magnificent, so grand, so majestic, so startlingly beautiful that I can only feel humbled and grateful that we now have the chance to see it in such a pristine print on high-definition blu-ray. For my money, no film has ever topped the art direction and production of Oz; not from the first frame to the last. To call it perfect would almost belie what a visual feast it is. There are fewer films, if any, that show off the kind of overwhelming magic the Hollywood studio system once possessed. How does one possibly pick a favorite set-piece? The sepia hues of the opening Kansas section seems to perfectly evoke the dusty earth and wood feelings of rural Kansas; turning it - if not supplanting itself completely - into one's imaginations of such a place. But it's truly the emergence into Oz and the Munchkin city itself that provides one of the most magical, mythical moments in all of cinema, as Dorothy opens the door and steps into not just a world of color, but a world of glorious Technicolor. It's transcendental cinema if not for the least of reasons because it's done entirely through visuals with only the slightest of musical queues; though, of course, perfectly punctuated by the "I have a feeling we're not in Kansas anymore" line. Munchkin city is the kind of design that one could stare at for hours analyzing every edge of the frame and never exhaust the innumerous visual detail and complexity. It's the kind of set that modern screenwriters have forgotten how to conceive, or film-makers forgotten how to create. It's one of those eternal art creations that I don't suspect will ever lose its power and charm.

But the brilliance is hardly limited to the Munchkin City. The somewhat sparseness of the first Scarecrow scene allows for ample room for the characters to play freely in. From there we begin advancing into the edge of the forest where the Tin Man resides. I always loved this set if only because I always wondered who lived in the house that the Wicked Witch appears on. The set is punctuated by a cornucopia of various exotic birds inhabiting the trees; many of which really stick out now thanks to the clarity of blu-ray. In fact, that clarity helps to debunk one of the famous myths that a blurry shape in the background was a disgruntled munchkin actor who hung himself, but one can clearly see now it's just another bird. Those talking trees were a wonderful, if even minor addition to the section. I love the subtle change as we move into the realm of the Cowardly Lion; now in the deep, dark part of the forest. In both section the range and richness of the greens and blues are a supreme treat for the eye. Then there's the Emerald City. Unlike the rainbow-themed Munchkin City, Emerald City is, of course, based around the color green. It was actually built on the studio's largest soundstage and the film appropriately utilizes the enormous space of the set; filling it to the brim with extras and design nuances. The foreboding hall that leads to the Wizard and the Wizard's throne room itself were two of the sets that really frightened me as a child; and, indeed, the efficacy of the special effect floating head still hasn't lost its potency. The Witch's castle is appropriately dark, grey, gothic, and creepy. But even there one can admire the attention to detail such as the shimmering river far below the parapets, and the ominous textures of the stone walls.

Beyond the physical sets it's easy to miss or ignore the stunning works of art that are those matte paintings. They're brilliant because Warren Newcombe treated them as legitimate works of art done on a grand scale. Even if one can look at them now and spot where the set stops and the painting begins, they are so magnificent that it's nearly impossible to criticize it for any artificiality. The level of detail is astounding as they seem to stretch the set out into the infinity of the Land of Oz. One wonders if Welles' innovative use of mattes in Kane would've been possible without this film. But if Oz is a masterpiece it is so because that kind of attention to detail, artistry, and craftsmanship was applied to every possible level. The special effects by Buddy Gillespie were revolutionary; with the pinnacle being "the twister" that had to be shot separately, but was so effective it scared children and was even reused years later in Minnelli's Cabin in the Sky. The costumes and makeup were equally accomplished, especially considering that there were almost no elaborate makeup specialists back then like there are today. It certainly had to be one of the first films that begun the trend of actors sitting for hours upon actors just to get their costumes and makeup applied. The costumes were even more elaborate; the Lion's being made of real lion fur, weighing around 90lbs. and the Tin Man not being much lighter and even stiffer. One also has to consider that the film was shot on ASA 5 speed film, which is EXTREMELY slow (it's not uncommon to shoot in ASA 400 today) but was used because it could capture the detail and beauty of the production in deep focus. But in order to make low speed work they had to use extremely high output lights that heated up the set considerably and the actors had to suffer (and still act and perform!) under those costumes and heat. Top it all off with a camera that weighed a fourth of a ton and one gets an appreciation for what a technical marvel the film is.

Capturing the production genius was one of Hollywood's master craftsman directors in Victor Fleming. It's amazing that when one considers how many films he made that he's primarily only remembered for two; The Wizard of Oz and Gone With the Wind. Both were made the same year, and both were two of the earliest uses of Technicolor in a grand, big-budgeted production. Fleming was known as a master at saving troubled films and, indeed, both Oz and Wind were two infamously troubled productions which he (arguably) saved. Richard Thorpe was originally assigned to direct, but when Buddy Epson quit and shooting halted, Mervyn LeRoy (the producer; and a fine director himself) reviewed the shot footage and thought Thorpe was rushing the production with negative results. So George Cukor was called into direct. But Cukor was never able to shoot anything because of his prior commitment to do Gone With the Wind. Although we can thank Cukor for the eminently improved look of Garland's Dorothy (anyone who's seen production stills from before Cukor's arrival will undoubtedly agree). Fleming did the bulk of the shooting, though when he left to take over Gone With the Wind from Cukor, King Vidor was called in to finish shooting the sepia-toned Kansas scenes. Despite the turbulent history of directors, the film seems uniformly and superbly directed. There's nary a wayward shot (much less scene) in the entire film. It thoroughly showcases Classic Hollywood's mastery of economy in which there are no superfluous scenes, shots, or cuts. If one were to find any criticism with the film it would only be that it was too judiciously edited to conform to typical 1939 film lengths.

Missing the cut were two musical sequences; A jitterbug that was to take place when Dorothy and her companions reach the forest before the Wicked Witch's Castle, which doesn't seem like much of a loss given how it would've conflicted with the dramatic tone. The other was a reprise of "The Witch is Dead" done by her Winkie Guards as "Hail, Hail! the Witch is Dead". But there are two scenes particularly missed. One was an early scene in which Hickory shows Dorothy a machine he's built that's supposed to ward off storms, but it only needs "a heart" to work. This was meant to be his Tin Man character foreshadowing, the same way in which Bolger's Hunk had his ("Now lookit, Dorothy, you ain't using your head about Miss Gulch. Think you didn't have any brains at all.") and Lahr's Zeke had his ("She ain't nothing to be afraid of. Have a little courage, that's all."). It's an effect that I, for one, really miss. The other was an extended take of "If I Only Had a Brain" featuring a marvelously choreographed dance by Bolger that has him bouncing off the wooden fences near the cornfields like ropes in a wrestling ring. Not to mention a wayward pumpkin that tosses him sky high. It was cut for pacing and length, but it's really these two scenes that prompts one to ask: "How long is too long?"

The writing was as fraught with problems (or, at least, complexities) as the direction; primarily adapted by Noel Langley but with contributions from a long list of names. But much like the direction, the writing doesn't seem to suffer any holes or gaps that often plague screenplays that has so many helping hands. It's a film full of sparkling dialogue that is never ostentatious. Of course, it's right up there with the most quoted films of all times, though through the years I've come to admire the smallest moments that are rarely mentioned, such as Uncle Henry's short exchange with Elmira Gulch:

UNCLE HENRY: "Dorothy? Well, what has Dorothy done?"
MISS GULCH: "What's she done? I'm all but lame from the bite on my leg!"
UNCLE HENRY: "You mean she bit you?"
MISS GULCH: "No, her dog!"
UNCLE HENRY: "Oh, she bit her dog, eh?"

The touches of comedy like this are always superbly executed. But perhaps the aspect that should be most highly praised is the attention to character detail. Unlike modern films, there aren't any words that were put to page only because they were cool. One of the brilliant touches of the screenplay was to utilize the same three actors for Scarecrow, Lion, and Tin Man for Hunk, Zeke, and Hickory; the farmhands at the beginning of the film, giving their appearances later in Oz a deeper relevance. In fact, Oz must be one of the first films in which a characters real life experiences manifests itself in a different form inside their dream; one of the film's many innovations. It's also that structure that manages to deepen the impact of the themes of finding the courage, wisdom, and heart to face life and all its hardships and trials; because if Dorothy, in fact, never actually left home and visited Oz, then it's very true that all of those things were in her to begin with.

Oz is also one of the extremely rare musicals that somehow makes me forget that it actually IS a musical. Musicals are not a genre I'm naturally drawn to, but the best like Singin' in the Rain and those by Robert Wise, George Cukor, and Vincente Minnelli work because of their cinematic quality. Indeed, no musical has the pervasive cinematic quality of Oz, but even without it the music could stand alone. Freed actually took a gamble in hiring the team who produced the songs (Harold Arlen and EY Harburg) and music (Herbeert Stolhart). Arlen and Harburg's style of mixing spoken dialogue in music and sophisticated, complex uses of linguistics ("If ever, oh, ever a Wiz there was the Wizard of Oz is one because."), counterpoint and variations was thought to be box office poison, but we can all be thankful that Freed's risk paid off. I doubt I could say a thing of fresh relevance about their greatest achievement, "(Somewhere) Over the Rainbow", that hasn't already been said. The miracle is that it made it into the film at all and only did because Arthur Freed fought for it to stay when others felt it slowed the film down. Now, after being named the #1 Song of the Century by RIAA, The #1 film song of all time by the AFI, and has become one of the most recorded and covered songs in history Freed's fight to keep it in seems like one of the greatest battles ever won. The song and scene is one of the few that King Vidor filmed, and instead of using a static camera - as was traditional in early movie musicals - he gently swayed the camera to Garland's movement; perhaps prefiguring the rapturous, gliding, movement and dance of Singin' in the Rain. But it provides just the right amount of dynamicism without imposing itself onto the scene. Perhaps the most remarkable thing about the song is that no matter how familiar it becomes, no matter how eternal and immortal it is, no matter how many times it appears #1 on various song lists, it is ultimately a personal and poignant piece of work that captures something so timeless and ephemeral that's ineffable. Shakespeare once wrote that "We are such stuff as dreams are made on", but he could just as easily have been talking about Over the Rainbow. It's a song that seems to capture man's eternal and wistful dreaming of a better life in far off dreamlands through a combination of the most simple melodies and lyrics.

In contrast, the songs in Oz are full of a joyous, jovial, bursting spirit and vitality that seem to fulfill the plaintive longing of Rainbow. From the gentleness of "Come Out, Come Out" sung by the angelic Glinda to awaken and alert the munchkins onward. The medley of "It Really Was No Miracle" and "We Thank You Very Sweetly" leads to one of the unforgettable numbers in "Ding Dong the Witch is Dead". It's one of those roaring chorus pieces that's still fun to howl along with; aided tremendously by it showcasing the production of The Munchkin City. It's interrupted by the cute "As Mayor of the Munchkin City" and "As Coroner, I must Aver", and then reprised and followed by the short and memorable "Lullaby League" and "Lollipop Guild" sections which seem to echo a kind of balletic interlude in opera. "Follow the Yellow Brick Road" was inserted as a transition piece to "You're Off to See the Wizard", which, of course, gets 3 reprises when Dorothy meets The Scarecrow, Tin Man, and Cowardly Lion (all choreographed slightly differently). "If I Only Had a Brain / a Heart / the Nerve" is the superb echoing trio delivered by the Scarecrow, Tin Man, and Lion; with Brain arguably being the best of them. Optimistic Voices is the short, ethereal piece we hear at the end of the Poppy Fields right before we reach the Emerald City. "The Merry Old Land of Oz" is The Emerald City's answer to the Munchkin City Medley and it's just as effective. Like its predecessor it's superbly aided by the outstanding production which gets to really show itself off. "If I Were King of the Forest" is the last musical number (two others were cut) and is delivered with masterful comic timing and affectation by Bert Lahr.

But for all the musical, writing, design and directorial genius, the film would've failed without its supreme cast, and one has to dedicate the appropriate time and space to them. Ray Bolger famously fought for the role of the Scarecrow, eventually winning it from the original choice which was Buddy Epson. Epson was then scheduled to play The Tin Man but contracted poisoning from the makeup and was forced to resign the part. Bolger himself said that the reason he wanted Scarecrow so badly is because he felt only he could perform the actions and routines mimicking the brainlessness of Scarecrow that fit the character so well. Indeed, it's hard to imagine another performer playing the role and playing it as if he was in full control. Jack Haley was eventually given the role of the Tin Man; perhaps the most overlooked and underappreciated of the trio. It's a tough role because by design the character's mobility is limited so he lacks the kinetic quality of Bolger's Scarecrow or Lahr's Lion. Yet I remember him being my favorite as a child if only because he had an axe. These many years later I find a deeper appreciation for his performances, because he is constantly doing more with less. Bert Lahr often gets the most acclaim for his role as The Cowardly Lion, and not undeservedly so. Lahr said that he brought everything from his background training in theater and vaudeville to the part, and from his entrance until the end his performance is a tour-de-force, but a rather nuanced one. With Lahr there's a constant play between his physical and vocal acting that's phenomenal; only he could've pulled off the If I Were King song and made it so hilarious a parody. We can be thankful the film broke the rule of "never work with children or animals" as Toto may be the most famous mascot ever. But equally so because there are few animals that are as amazing an actor as Terry the Dog as Toto. It's amusing to just sit and watch the film totally paying attention to her (yes, Toto is a girl) actions and reactions on screen. Frank Morgan was inspired casting in a quintuple role as Professor Marvel, the Doorman, The Cabbie, the Wizard's Guard, and, finally, the Wizard himself. He offers the kind of witty, wise, and warm personality that fits right into the tone of the film and he manages to shine in every scene he's in despite being surrounded by a cast that seems to cast an incandescent glow across the screen.

I imagine most every child can testify to the effectiveness of Margaret Hamilton as Elmira Gulch and The Wicked Witch of the West. Truly one of the most terrifying performances ever captured on film in what was, essentially, a children's film. In fact, she was so scary that during editing her part suffered the most because the producers were worried about frightening children TOO much. If the Wicked Witch didn't do the trick then there was the nightmare inducing flying monkeys. Though for me, The Witch's Winkie Guards were even scarrier; perhaps because of that unidentifiable but threatening chant of "Oh-ee-oh". Billie Burke is an enchanting Glinda. Even though the character was originally intended to be much younger, Burke brings the kind of intelligence to the part that only an older actor could, and yet she appears ageless more so than aged. Charles Grapewin as Uncle Henry and Clara Blandick as Auntie Em bring an earthy rightness to both parts. Both are utterly believable as such rural, farm owners and guardians to Dorothy. Speaking of Dorothy Gale, with her we have the perfect representation of a Midwestern, Kansas farmgirl who dreams of that magical place over the rainbow that so many people can't even think of without tearing up (myself included). Judy Garland was always Mervyn LeRoy's first choice for Dorothy, and perhaps it's only from the perspective of familiarity that one can say such a thing, but it's impossible to imagine anyone else in the role. Many members of the cast have testified as to her brilliance and humanity, some going as far as to say that without her, the film - for all its other greatnesses - would've failed. There's an innocence and plainness to Garland that I think is eternally relatable; especially from those who find themselves in a very similar situation. I may not have grown up on a farm, but the suburbs of Oklahoma sometimes don't seem that far removed from the farmlands of Kansas. One marvelous anecdote was the day in which she brought a huge box of chocolates and shared it with the entire munchkin cast that numbered into the hundreds. It's that true-to-life element that Garland brought to the film that shines through in her performance from beginning to end. Despite the film's pervasive magic, it's truly Garland's Dorothy that holds it all together and whisks us believably into the most unbelievable of adventures.

Oz is less of a film and more of a fully realized other world we step into; one that's both startling because of its warmly inviting familiarity and inexhaustibly, rich alien fantasy. It's beauty, poignancy, and profundity isn't something that can't be reviewed or analyzed or deconstructed or expressed logically; and that's a statement that I reserve for the rarest works of art, as I'm a believer in that if it can be felt or experienced it CAN be expressed in words. It is something that remains eternally pure and innocent, and perhaps it's those qualities that continue to touch audiences. It's a work like fine wine that only gets richer with age. It's a work that means much more to me now than it ever did as a child or teenager. It's a work that bursting at the seams with imagination, magic, vitality, and this effervescent and omni-illuminating light that I suspect emanates from the brilliance of every aspect of the production; from the design to the characters and cast to the music. There are very few works of art, much less films, that I would say this about, but I genuinely feel that those who don't like it or (unthinkably) never get to experience Oz are missing one of the greatest gifts life has to offer; and it really joins Shakespeare, War & Peace, the music of The Beatles, Mozart and Beethoven and a handful of others on the tremendously short lists of artists and works I've ever thought or said that about. It's had an incalculable influence on American culture; finding its way into the most diverse of arenas. But it's really its penetration into the hearts and minds of countless people that makes it such a treasure. To borrow a line from the commentary, which itself borrowed a line from the film, "If a heart is measured not by how much you love, but by how much you are loved by others, then surely The Wizard of Oz is the most beloved film ever".

30人のお客様がこれが役に立ったと考えています

レビューを日本語に翻訳する

Tthgoodday

Sehr schönes Lied von Judy Garland

2024年4月16日にドイツでレビュー済み

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Wunderbar! Ewig evergreen, schönes Lied, Over the rainbow, liebesvolle Geschichte.

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