. Marvelous.” Publishers Weekly From the ten scriptwriters at work to the scandal headlines of Munchkin orgies at the Culver City Hotel to the Witch's (accidental) burning, here is the real story of the making of The Wizard of Oz. This ...
Author: Aljean Harmetz
Publisher: Chicago Review Press
Category: Performing Arts
“Fantastic.” Gore Vidal, New York Review of Books “Grand.” Ray Bradbury, Los Angeles Times “Definitive.” Salmon Rushdie, The New Yorker “A fluent, incisive and fair history of life in Hollywood during the golden age of films. The author seems to have talked to everyone with knowledge of what went on at MGM in its heyday. . . . Marvelous.” Publishers Weekly From the ten scriptwriters at work to the scandal headlines of Munchkin orgies at the Culver City Hotel to the Witch's (accidental) burning, here is the real story of the making of The Wizard of Oz. This richly detailed re-creation brings alive a major Hollywood studio and reveals, through hundreds of interviews (with cameramen, screenwriters, costume designers, directors, producers, light technicians, and actors), how the factory-like Hollywood system of moviemaking miraculously produced one of the most enduring and best-loved films ever made. We watch it happen--the bright, idiosyncratic, wildly devoted MGM-ers inventing the lines, the songs; flying hordes of monkeys through the sky; growing a poppy field; building the Emerald City (and 60 other sets); designing and sewing the nearly 1,000 costumes; enduring the pressures from the front office; choosing the actors. Here is Oz, a marvelous, unprecedented experience of studio life as it was lived day by day, detail by detail, department by department, at the most powerful and flamboyant studio Hollywood has ever known--at its moment of greatest power. Aljean Harmetz is the author of The Making of Casablanca, On the Road to Tara: The Making of Gone with the Wind, and other books.
Aljean Harmetz, The Making of The Wizard of Oz (London: Pavilion Books, 1989), 19. 2. Harmetz, The Making of The Wizard of Oz, 18–19. 3. Film Bulletin, August 26, 1939, 6; quoted in Motion Picture Review Digest Volumes 4–5 (New York: ...
Author: Danielle Birkett
Publisher: Oxford University Press, USA
One of the most beloved film musicals of all time, The Wizard of Oz represents an enduring family favorite and cultural classic. Yet there is much more to the story than meets the eye, and the MGM movie is just one of many ways in which it has been represented. In this lively and wide-ranging book, editors Danielle Birkett and Dominic McHugh bring together insights from eleven experts into the varied musical forms this great American myth has taken in the past century. Starting with the early adaptations of L. Frank Baum's story, the book also explores the writing, composition and reception of the MGM film, its importance in queer culture, stage adaptations of the movie, cult classic The Wiz, Stephen Schwartz's Broadway blockbuster Wicked, and the cultural afterlife of the iconic Arlen-Harburg songs. What emerges is a vivid overview of how music - on stage and screen - has been an essential part of the story's journey to become a centerpiece of American culture.
Beyond the Yellow Brick Road: The Making of Tin Man. Dir. Tony Pantages. Perf. Zooey Deschanel, Alan Cumming, Neal McDonough. RHI Entertainment, 2007. 54. Kelly Kessler, Destabilizing the Hollywood Musical: Music, Masculinity,and Mayhem ...
Author: Alissa Burger
Category: Literary Criticism
Since the publication of L. Frank Baum’s The Wonderful Wizard of Oz in 1900, authors, filmmakers, and theatrical producers have been retelling and reinventing this uniquely American fairy tale. This volume examines six especially significant incarnations of the story: Baum’s original novel, the MGM classic The Wizard of Oz (1939), Sidney Lumet’s African American film musical The Wiz (1978), Gregory Maguire’s novel Wicked: The Life and Times of the Wicked Witch of the West (1995), Stephen Schwartz and Winnie Holzman’s Broadway hit Wicked: A New Musical (2003), and the SyFy Channel miniseries Tin Man (2007). A close consideration of these works demonstrates how versions of Baum’s tale are influenced by and help shape notions of American myth, including issues of gender, race, home, and magic, and makes clear that the Wizard of Oz narrative remains compelling and relevant today.
Olimpia Zagnoli’s modern, illustrative interpretation of this classic tale follows Dorothy on her infamous journey to Oz. The quirky, colorful images breathe new life into this classic novel, making it a collectible for Oz lovers every ...
Author: L. Frank Baum
Publisher: Classics Reimagined
Retold with illustrations by artist Olimpia Zagnoli, this edition sweeps you into a colorful and inspiring world that you can only dream of!
Aljean Harmetz, The Making of the Wizard of Oz (New York: Knopf, 1977), 118–19. William Stillman and Jay Scarfone, The Wizardry of Oz: The Artistry and Magic of the 1939 M-G-M Classic (New York: Applause Theatre & Cinema Books), 86.
Author: Holly Van Leuven
Publisher: Oxford University Press
Category: Biography & Autobiography
Best remembered for his role as the Scarecrow in the 1939 MGM musical The Wizard of Oz, Ray Bolger led a rich and extraordinary career in the decade before and more than four decades after the creation of the film. Ray Bolger: More Than a Scarecrow is the first biography of this classic American entertainer, covering the luminous and forgotten career of the eccentric dancer outside of his burlap mask. The product of a fragmented, working-class Boston Irish family, Bolger learned tap and eccentric dance steps as solace for a difficult life before running away to repertory theater and Vaudeville. From there, he would go on to become a Broadway star, a contract player at Hollywood's major studios, one of the first performers to tour the South Pacific for the USO, a Tony Award winner, an early sitcom star, and the opening headliner of the Sahara Hotel in Las Vegas. Using unprecedented access to Bolger's papers and many never-before-published photographs, Ray Bolger: More Than a Scarecrow pieces together the lost story of an itinerant hoofer who survived and thrived during the major media changes of the twentieth century and established himself as a staple of American pop culture.
Doug McClelland, Down the Yellow Brick Road: The Making of The Wizard of Oz (New York: Pyramid Books, 1976), 55, 63, 66. 66. Anne Edwards, Shirley Temple: American Princess (New York: Berkley Books, 1988), 109–110. 67.
Author: Eila Mell
Category: Performing Arts
Some acting careers are made by one great role and some fall into obscurity when one is declined. Would Al Pacino be the star he is today if Robert Redford had accepted the role of Michael Corleone in The Godfather? Imagine Tom Hanks rejecting Uma Thurman, saying that she acted like someone in a high school play when she auditioned to play opposite him in The Bonfire of the Vanities. Picture Danny Thomas as The Godfather, or Marilyn Monroe as Cleopatra. This reference work lists hundreds of such stories: actors who didn’t get cast or who turned down certain parts. Each entry, organized alphabetically by film title, gives the character and actor cast, a list of other actors considered for that role, and the details of the casting decision. Information is drawn from extensive research and interviews. From About Last Night (which John Belushi turned down at his brother’s urging) to Zulu (in which Michael Caine was not cast because he didn’t look “Cockney” enough), this book lets you imagine how different your favorite films could have been.
The conflicting aspects of Arlen's and Harburg's accounts of the genesis of “Over the Rainbow” are summarized in Alonso, Yip Harburg, 105–6. IGL, Harburg Collection, Box 2, Folder 14. Harmetz, Making of “The Wizard of Oz,” 81.
Author: Walter Frisch
Publisher: Oxford University Press
"Over the Rainbow" exploded into worldwide fame upon its performance by Judy Garland in the MGM film musical The Wizard of Oz (1939). Voted the greatest song of the twentieth century in a 2000 survey, it is a masterful, delicate balance of sophistication and child-like simplicity in which composer Harold Arlen and lyricist E. Y. "Yip" Harburg poignantly captured the hope and anxiety harbored by Dorothy's character. In Arlen and Harburg's Over the Rainbow, author Walter Frisch traces the history of this song from its inception during the development of The Wizard of Oz's screenplay, to its various reinterpretations over the course of the twentieth century. Through analysis of the song's music and lyrics, this Oxford Keynotes volume provides a close reading of the piece while examining the evolution of its meaning as it traversed widely varying cultural contexts. From its adoption as a jazz standard by generations of pianists, to its contribution to Judy Garland's role as a gay icon, to its reemergence as a chart-topping recording by Hawaiian singer Israel Kamakawiwo'ole, "Over the Rainbow" continues to engage audiences and performers alike in surprising ways. Featuring a companion website with audio and video supplements, this book leaves no path unexplored as it succeeds in capturing the extent of this song's impact on the world.
In making judgments , we need to be conscious of economic , historical , and political factors that impact on the film ... Aljean Harmetz , THE MAKING OF " THE WIZARD OF OZ " ( New York : Alfred Knopf , 1977 ) ; * C . Kirk McClellan and ...
Author: Frank Manchel
Publisher: Fairleigh Dickinson Univ Press
Category: Performing Arts
The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities.
192–196; Sean P. Duffly, “Oz under Scrutiny: Early Reviews of the Oz Film Manufacturing Company's The Patchwork Girl of Oz and The New Wizard of Oz,” Baum Bugle (Winter 2005), pp. 25–32. 24. Quoted in W. E. Wing, “From 'Oz to the Magic ...
Author: Noel Brown
Publisher: Oxford University Press
Category: Business & Economics
The Oxford Handbook of Children's Film offers a uniquely comprehensive study of children's cinema from an interdisciplinary, nuanced, global perspective.
36 Harmetz, Making of The Wizard of Oz, 40. 37 Rushdie offers “the heretical thought” that “maybe the Witch of the East wasn't so bad as all that—she certainly kept the streets clean, the houses painted and in good repair... she [also] ...
Author: Henry Jenkins III
Publisher: Duke University Press
Category: Social Science
Hop on Pop showcases the work of a new generation of scholars—from fields such as media studies, literature, cinema, and cultural studies—whose writing has been informed by their ongoing involvement with popular culture and who draw insight from their lived experiences as critics, fans, and consumers. Proceeding from their deep political commitment to a new kind of populist grassroots politics, these writers challenge old modes of studying the everyday. As they rework traditional scholarly language, they search for new ways to write about our complex and compelling engagements with the politics and pleasures of popular culture and sketch a new and lively vocabulary for the field of cultural studies. The essays cover a wide and colorful array of subjects including pro wrestling, the computer games Myst and Doom, soap operas, baseball card collecting, the Tour de France, karaoke, lesbian desire in the Wizard of Oz, Internet fandom for the series Babylon 5, and the stress-management industry. Broader themes examined include the origins of popular culture, the aesthetics and politics of performance, and the social and cultural processes by which objects and practices are deemed tasteful or tasteless. The commitment that binds the contributors is to an emergent perspective in cultural studies, one that engages with popular culture as the culture that "sticks to the skin," that becomes so much a part of us that it becomes increasingly difficult to examine it from a distance. By refusing to deny or rationalize their own often contradictory identifications with popular culture, the contributors ensure that the volume as a whole reflects the immediacy and vibrancy of its objects of study. Hop on Pop will appeal to those engaged in the study of popular culture, American studies, cultural studies, cinema and visual studies, as well as to the general educated reader. Contributors. John Bloom, Gerry Bloustein, Aniko Bodroghkozy, Diane Brooks, Peter Chvany, Elana Crane, Alexander Doty, Rob Drew, Stephen Duncombe, Nick Evans, Eric Freedman, Joy Fuqua, Tony Grajeda, Katherine Green, John Hartley, Heather Hendershot, Henry Jenkins, Eithne Johnson, Louis Kaplan, Maria Koundoura, Sharon Mazer, Anna McCarthy, Tara McPherson, Angela Ndalianis, Edward O’Neill, Catherine Palmer, Roberta Pearson, Elayne Rapping, Eric Schaefer, Jane Shattuc, Greg Smith, Ellen Strain, Matthew Tinkhom, William Uricchio, Amy Villarego, Robyn Warhol, Charles Weigl, Alan Wexelblat, Pamela Robertson Wojcik, Nabeel Zuberi