Monsters generate their city's power by scaring children, but they are terribly afraid themselves of being contaminated by children, so when one enters Monstropolis, top scarer Sulley finds his world disrupted.
The toys are mistakenly delivered to a day-care center instead of the attic right before Andy leaves for college, and it's up to Woody to convince the other toys that they weren't abandoned and to return home.
In this charming film based on the popular L. Frank Baum stories, Dorothy and her dog Toto are caught in a tornado's path and somehow end up in the land of Oz. Here she meets some memorable friends and foes in her journey to meet the Wizard of Oz who everyone says can help her return home and possibly grant her new friends their goals of a brain, heart and courage. Written by
9200 living actors in the notable star-studded cast! 68 incredibly magnificent sets! Augmented orchestra of 130 pieces! Chorus of 300 rousing voices! 100 minutes of unforgettable entertainment! (Newspaper ad, 1939). See more »
The famed Jitterbug number was in actuality a leftover of an abandoned subplot that was discarded in early rewrites of the script. In the original Oz movie there was to be a large subplot involving characters named Princess Betty and the Grand Duke of Oz, to be played by MGM contract players Betty Jaynes and Kenny Baker. Jaynes, known for her refined operatic style of singing, was supposed to offset Judy Garland's jazz type of singing and a number was devised highlighting the differences. The Jitterbug number was devised by Harold Arlen and E.Y. Harburg to showcase Garland's talents. Both Jaynes' and Baker's characters were deemed unnecessary in early script rewrites and were removed from the picture, as well as their subplot. However, the Jitterbug number survived in the script and was filmed for the movie, although it too was cut from the picture in early previews. A reference to the Jitterbug number survives in the Wicked Witch's orders to Nikko, when she tells him to "send the insects on ahead to take the fight out of them" before the Flying Monkeys take off. See more »
The location of the Munchkin that hands Dorothy the lollipop changes four times. See more »
She isn't coming yet, Toto. Did she hurt you? She tried to, didn't she? Come on. We'll go tell Uncle Henry and Auntie Em.
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The Oz characters that Frank Morgan, Ray Bolger, Jack Haley, Bert Lahr and Margaret Hamilton play are not actually listed in the cast list at the end; only their Kansas counterparts are. However, Billie Burke (who plays only Glinda the Good Witch) and Pat Walshe, who plays only Nikko, the Head Monkey, *are* listed in the closing credits as having played those characters. See more »
Where to begin? MGM's elaborate adaptation of L. Frank Baum's 1900 fantasy classic THE WONDERFUL WIZARD OF OZ not only became an institution among itself (and practically defined the concept of modern popular culture), but is reported to be the most viewed film ever made. A sharp screenplay effectively condenses the novel's text into a workable film, and director Victor Fleming (along with countless other behind-the-scenes technicians) craft a visually stimulating fantasy world that surpasses the expectations of even the most imaginative viewers. Brimming with stunning visual effects (the film's fierce tornado is an FX feat that has yet to be surpassed by CGI), witty dialogue, and eye-popping Technicolor, THE WIZARD OF OZ truly lives up to it's reputation as a once-in-a-lifetime film where every element comes together flawlessly.
The cast could not be improved upon. The quivery-voiced, solemn-faced Judy Garland will always be Dorothy, the little lost farm girl on the road to Oz, clutching her beloved Toto (impressively portrayed himself by the female canine performer Terry, the terrier). It seems inconceivable that MGM had originally wished to cast Shirley Temple in the role, as Temple's doe-eyed, cutesy-voiced shtick would have been a catastrophic ill-fit for the tone of this picture. Conversely, Garland is perhaps the screen's quintessential woman/child; always seemingly just one step away from reaching full emotional maturity. It is her sadness that transfixes viewers to the screen, the exact same quality that made the film's most memorable Harold Arlen/E. Y. Harburg number "Over the Rainbow" into one of the most exquisite marriages between artist and song ever to be recorded.
The remainder of the cast is similarly exceptional, many of whom perform perfectly even under the most debilitating make-up and costumes. Frank Morgan is marvelously versatile in no less than five roles, the insanely energetic Bert Lahr mugs brilliantly, the handsome Jack Haley swoons sweetly, Billie Burke lends the film an ornate ethereality, and Ray Bolger's gravity-defying physical presence nearly steals the entire picture on several occasions. Perhaps most notable is former schoolteacher Margaret Hamilton's transformation into the wickedest of wicked witches, which certainly remains among the vilest and most terrifying portrayals of full-throttle evil ever to be seen. No matter how it is analyzed, scrutinized, or satirized, the 1939 production of THE WIZARD OF OZ is a top-notch example of how to turn a great story into a fabulous, milestone of a film.
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