Dorothy Gale is swept away from a farm in Kansas to a magical land of Oz in a tornado and embarks on a quest with her new friends to see the Wizard who can help her return home to Kansas and help her friends as well.
While home sick in bed, a young boy's grandfather reads him the story of a farmboy-turned-pirate who encounters numerous obstacles, enemies and allies in his quest to be reunited with his true love.
In order to power the city, monsters have to scare children so that they scream. However, the children are toxic to the monsters, and after a child gets through, 2 monsters realize things may not be what they think.
A selfish prince is cursed to become a monster for the rest of his life, unless he learns to fall in love with a beautiful young woman he keeps prisoner.
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
Dale Roloff
The film received a mention in the Guinness Book of World Records as the film to which a live-action sequel was produced after the longest period of time--Return to Oz (1985) was released 46 years later. See more »
Goofs
When the Witch of the West goes to check on the Ruby Slippers, she walks right up to the remains and clearly sets the straw end of her broom against the side of the house, partially covering the feet. In the next two shots showing the slippers and remains disappearing and the Witch's reaction to them, there is no sign of the broom and it appears that she is several feet away. See more »
Quotes
[first lines]
Dorothy:
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.
See more »
Crazy Credits
Dedication right after opening credits - "For nearly forty years this story has given faithful service to the Young in Heart; and Time has been powerless to put its kindly philosophy out of fashion. To those of you who have been faithful to it in return ...and to the Young in Heart ...we dedicate this picture." See more »
Alternate Versions
All prints shown/made from 1949 to 1988 have the Kansas scenes in black and white, not the original sepia tones. The 1989 50th anniversary video cassette restores the sepia color of the Kansas scenes. All theatrical re-releases, TV airings, and video releases since then have the scenes in the sepia tones. See more »
The Happy Farmer, Op. 68, No. 10
(1848) (uncredited)
Music by Robert Schumann
Heard as background music during opening scene and in scene during which Toto runs back to Dorothy
Played by The MGM Symphony Orchestra See more »
The NBC Peacock began unfolding its wings. "The following program is brought to you in living color--with portions in black & white--on NBC." That exclusive intro began my exposure to color television at Grandma's in 1968. When Dorothy stepped out into Technicolor, I'll bet my eyes just popped.
This is the Movie of All Time, folks--a status achieved during its long run as a huge annual TV event during that classic era whose programs now show up on TV Land network. In the 1970s, Peter Marshall once read the answer on Hollywood Squares as to the program seen more times by more people than anything else ever shown on television. It was "Oz." Likewise, no movie has the hold on popular culture that this one does. What lion character ever since (i.e., Snagglepuss) hasn't been an impersonation of Bert Lahr going, "Put 'em up, put 'em uuuuup!"
Few musicals offer an equal combination of lovable music and engaging story. Perhaps "The Sound of Music." Hard to think of many Hollywood musicals where the story gets as serious as it does here when the Witch informs Dorothy that, "The last to go will see the first three go before her...and her mangy little dog too!" Yikes! In contrast, even the best of other Hollywood musicals seem to serve up fluffy, forgettable story lines that are mere backdrop to the song numbers that typically put the plot on hold.
I can't say that "Oz" doesn't have technical flaws or story element inconsistencies. It's just that the astonishing production values all around so overwhelm the shortcomings. The tornado sequence is a 1939 special effects tour de force--incredible. And the Nutcracker-quality musical score offers songs tastefully interwoven with the action. Certain numbers like "Merry Old Land of Oz," I never get tired off, though I like each of the songs.
Oz should be viewed in the lightness of spirit that it deserves. I mean look, we have Frank Morgan as the Emerald City gatekeeper, then seconds later as the cabbie with the Horse of a Different Color, then the Wizard's palace guard, and then the voice of fire-and-smoke Wizard of Oz who bellows, "Step forward, Tin Man!" What other film could put an actor go through 4 quick-changes within 10 minutes to such an endearing result? "Oz" is as magic as those sparkling ruby shoes.
The early Technicolor process utilized triple nitrate negative strips--separately recording each primary color in light. This was done due to the lack of a suitable "color film" in 1939. That would quickly change--but films from years following suffered from hues that faded with the years, even original negatives. Because "Oz" was actually filmed on a black-and-white base film, the negatives never faded. So now we have home videos/DVDs of breathtaking color quality. Now, the tinted filters in the cameras that separated the colors onto the negative strips meant that intense illumination was required, rendering the filming experience miserably hot for the actors involved, especially Lahr. But they all hold up amazingly well.
"Oz" has a valuable message. As the pop group America once said, "No, Oz never did give nothin' to the Tin Man....that he didn't, didn't already have." If we have truly search, we can find within us--or create through trial, like the Lion's courage--what we think we most lack. The Wizard (like the Lord) helps those who find help within themselves.
I feel sorry for the Almira Gulches who can't treasure this film experience. They need to visit the Emerald City to get their own ticking Testimonials and find their hearts.
Didn't bring your broomsticks with you? Well, I'm afraid you'll have to walk.
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The NBC Peacock began unfolding its wings. "The following program is brought to you in living color--with portions in black & white--on NBC." That exclusive intro began my exposure to color television at Grandma's in 1968. When Dorothy stepped out into Technicolor, I'll bet my eyes just popped.
This is the Movie of All Time, folks--a status achieved during its long run as a huge annual TV event during that classic era whose programs now show up on TV Land network. In the 1970s, Peter Marshall once read the answer on Hollywood Squares as to the program seen more times by more people than anything else ever shown on television. It was "Oz." Likewise, no movie has the hold on popular culture that this one does. What lion character ever since (i.e., Snagglepuss) hasn't been an impersonation of Bert Lahr going, "Put 'em up, put 'em uuuuup!"
Few musicals offer an equal combination of lovable music and engaging story. Perhaps "The Sound of Music." Hard to think of many Hollywood musicals where the story gets as serious as it does here when the Witch informs Dorothy that, "The last to go will see the first three go before her...and her mangy little dog too!" Yikes! In contrast, even the best of other Hollywood musicals seem to serve up fluffy, forgettable story lines that are mere backdrop to the song numbers that typically put the plot on hold.
I can't say that "Oz" doesn't have technical flaws or story element inconsistencies. It's just that the astonishing production values all around so overwhelm the shortcomings. The tornado sequence is a 1939 special effects tour de force--incredible. And the Nutcracker-quality musical score offers songs tastefully interwoven with the action. Certain numbers like "Merry Old Land of Oz," I never get tired off, though I like each of the songs.
Oz should be viewed in the lightness of spirit that it deserves. I mean look, we have Frank Morgan as the Emerald City gatekeeper, then seconds later as the cabbie with the Horse of a Different Color, then the Wizard's palace guard, and then the voice of fire-and-smoke Wizard of Oz who bellows, "Step forward, Tin Man!" What other film could put an actor go through 4 quick-changes within 10 minutes to such an endearing result? "Oz" is as magic as those sparkling ruby shoes.
The early Technicolor process utilized triple nitrate negative strips--separately recording each primary color in light. This was done due to the lack of a suitable "color film" in 1939. That would quickly change--but films from years following suffered from hues that faded with the years, even original negatives. Because "Oz" was actually filmed on a black-and-white base film, the negatives never faded. So now we have home videos/DVDs of breathtaking color quality. Now, the tinted filters in the cameras that separated the colors onto the negative strips meant that intense illumination was required, rendering the filming experience miserably hot for the actors involved, especially Lahr. But they all hold up amazingly well.
"Oz" has a valuable message. As the pop group America once said, "No, Oz never did give nothin' to the Tin Man....that he didn't, didn't already have." If we have truly search, we can find within us--or create through trial, like the Lion's courage--what we think we most lack. The Wizard (like the Lord) helps those who find help within themselves.
I feel sorry for the Almira Gulches who can't treasure this film experience. They need to visit the Emerald City to get their own ticking Testimonials and find their hearts.
Didn't bring your broomsticks with you? Well, I'm afraid you'll have to walk.