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Even worse: The green face paint was so toxic that she and several other actors couldn't eat once it was applied and had to subsist on a liquid diet via straw during the day. On top of the physical torture, most of the Wicked Witch's scenes had to be edited or cut completely after being deemed to terrifying for children. So what's left is the un-scary version?! Sure, you probably know that the fortune-telling Kansas professor and the Great and Powerful Oz are both actor Frank Morgan.

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But he was also the Emerald City cabby driving the Horse-of-a-Different-Color, a guard at the Wizard's palace, and the doorkeeper there. Or so the legend goes The much-debated story is that MGM's wardrobe department purchased a tattered coat at a local second-hand shop. A tag in the garment read L. Frank Baum. Despite being dismissed as a stunt, several people from the production vouched for it. And the Oz author did spent the latter years of his life in Hollywood.

Either way, it's a fitting tall tale. The stunning Billie Burke , who played Glinda the Good Witch of the North, was 54 years old at the time — 18 years older than her counterpart Margaret Hamilton, who portrayed the Wicked Witch of the West. Good witch, good genes. The scarecrow face prosthetics that Ray Bolger wore left a pattern of lines on his face that took more than a year to vanish. The year-old actress was the second choice for the role — behind year-old Shirley Temple — and when she got the job, she was ordered to lose 12 pounds.

Talk about authentic! And his facial makeup included pieces of a brown paper bag. Between the hot temps on-set and the 90 lbs. Jell-O crystals were stuck over all the multiple Emerald City horses playing the Horse-of-a-Different-Color to give them their color. But the scenes were shot quickly, because the horses started to lick them off.

They split in Still, the film managed to win two Oscars — for best original score and best original song. Type keyword s to search. Today's Top Stories. Biotin's Benefits for Hair and Nails. Advertisement - Continue Reading Below.

27 Facts That Will Make You Look At "The Wizard Of Oz" Completely Differently

WBMoviesOnline via Youtube. Pat Walshe as Nikko. Lee Murray as Winged Monkey. The Singer Midgets as Munchkins.

George Ministeri as Coach Driver. Harlan Briggs as Uncle Henry's Double. Jerry Maren as Guild Leader. Yvonne Moray as League Dancer.

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Tyler Brooke as Ozmite. Adriana Caselotti as Juliet. Pinto Colvig as Munchkin. Billy Curtis as City Father. Major Doyle as Munchkin uncredited. Daisy Earles as Munchkin Villager. Harry Earles as Guild Singer. Charles Irwin as Ozmite.

Wizard of Oz (character) - Wikipedia

Lois January as Cat Owner. Mitchell Lewis as Head Winkie. Walter Miller as Bespectacled Munchkin. Frank Packard as Munchkin uncredited. Lillian Porter as Munchkin uncredited. Jimmy Rosen as Munchkin uncredited. Oliver Smith as Ozmite. Terry as Toto. Carol Tevis as Munchkin. Bobby Watson as Ozmite. Gus Wayne as Munchkin. Abe Dinovitch as Munchkin. Clarence Swensen as Munchkin. Mickey Carroll as Munchkin. The Munchkins. Meinhardt Raabe as Munchkin Coroner. Karl Slover as Munchkin. Sep 5, Full Review…. Sep 20, Rating: A Full Review…. Sep 19, Rating: 3. Sep 9, Full Review…. Aug 29, Full Review…. Jun 15, Full Review…. View All Critic Reviews Feb 27, Beautiful, memorable and overall a fun journey! The Wizard of Oz in my opinion is the best family film and is a magically fun time!

Mr N Super Reviewer. Nov 09, A classic of cinema, with a broadway musical brought to the big screen in colour. Full of memorable songs and unforgettable scenes. Ross C Super Reviewer. Jun 15, One of the rare classics that has actually managed to achieve the coveted status of being impervious to criticism. Its pure magic from start to finish.

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I could watch it a thousand times and still be filled with pure, unadulterated joy each time. Alec B Super Reviewer. Aug 13, We're off to see the wizard, the adequately entertaining, but somewhat dated and narratively thin 'Wizard of Oz'! It's good that she had that going for her after this film, because she was cuter at 16, and if you think that that's kind of weird to say, this film is so old that I think that it came out at a time when year-olds were already married, with children, and a place in the Senate of the Roman Empire or something.

No, this film can't possibly be that terribly old, because I had always figured that the '60s was the best time to get the type of dope which just had to have gone into this film, or at least into the minds of this film's viewers back in Man, this trippy flick has always been mighty popular, and I'm betting Victor Fleming was glad of that, because if I'm going to make time to knock something the same year I did "Gone with the Wind", I better get paid back well. Man, forget Fleming, this film and "Gone with the Wind" bled Metro-Goldwyn-Mayer dry, so if they didn't succeed, Fleming would have his life to worry about more than his money He made this film and "Gone with the Wind" in one year, so it's not like he had all that much time to spend on having a life.

Well, lucky for MGM, was anything but the year they saw flop, because this film and its fellow Fleming flick were quite the hit, though that's not to say that this film comes close to the level of "Gone with the Wind", being held back by a number of factors. A late s family fluff piece, this film has, of course, dated quite a bit over the years, though it couldn't have been entirely cleansed of cheesiness at the time of its release, and it's certainly not cleansed of corniness now, as its lighter moments get to be too fluffy for their own good, sometimes to a slightly annoying extent, and when it comes to the deeper areas of this film's substance, it's also dated, with no subtlety and only so much weight.

Sure, I wouldn't have expected too much from this film back in '39, so I'm certainly not asking for all that much depth to this classic fluff flick, but it's all so very superficial, and all too often to a cheesy extent which challenges your investment about as much as dating within pacing sensibilities. At just over minutes, the film is both rather short on a general level, as well as longer than it probably should be, and you are reminded of this by a certain unevenness in pacing, whose more hurried moments slam-bang exposition, and whose less swift areas get to be a bit carried away in repetitious padding.

Really, pacing inconsistency isn't a terribly big problem, or at least the slow spells are not nearly as frequent as the hurried spells, but it still stands, messing with the momentum of the film's focus until you end up with plotting that kind of takes longer than it probably should to tell a story so simple. Again, pacing issues aren't considerable, and while cheesiness is, it's a bit easier to forgive, considering the fact that this fluff piece was done quite a while back, so as far as consequential shortcomings are concerned, not much is wrong with this film, which is still kind of underwhelming, largely thanks to natural shortcomings, because as much fun as this tale may be, there's nothing much to it.

This classic fluff piece really is not much more than a classic fluff piece, and that's fine and all, as it makes for some pretty entertaining classic cinema, but at the end of the day, without its historical significance and fair deal of still-memorable strength, there wouldn't be too much to remember within this somewhat cheesy, uneven and limited piece of fantasy fare. That being said, even without taking its historical significance into consideration, this film is an enjoyable one, whose shortcomings are undeniable, but challenged enough by aspects which were groundbreaking at the time and are still impressive now, with musical aspects being particularly strong against the test of time.

By no means was Herbert Stothart's score especially groundbreaking at the time, or especially outstanding, but to this day it is undeniably quite strong, with a classical tastefulness and color which flavor up entertainment value, especially when bonded with sharp lyrics by Harold Arlen and lively vocals in order to produce one delightful musical number after a while. Whether when it's complimenting tone with tasteful score work or flavoring up the fun factor with justly legendary songs, the musical aspects cannot be taken away from this film, bringing life to its world every bit as much as Cedric Gibbons', George Gibson's, Wade B.

Rubottom's and Elmer Sheeley's art direction, which certainly raises a standard, for although some of the film's designs have become dated, whether they be production designs by Malcolm Brown, William A. Horning and Jack Martin Smith, or costume designs by Adrian, the components into the making of this film's distinct world still hold up as colorfully intricate and eminently memorable, especially when their beauty is really fleshed out by Harold Rosson's cinematography. Needless to say, Rosson's efforts have become quite dated over the years, but you have appreciate them for their uniqueness for the time, and for their still being quite impressive on the whole, with a handsomely grainy bronze tone to the first act that often resembles some kind of a tastefully done old photography, while the Technicolor-charged body of the film bounces the rich depths of color in a striking way that is still eye-catching to this day.

Technically and stylistically, the film hasn't made it through the test of time spotless, but the visuals which do a lot to drive this fluff piece remain nothing short of remarkable, and you just cannot see this film without them, partially because the film doesn't have too much going for it when it comes to substance.