Schallert, Edward. "Fairy Tale of Oz Called Milestone in Fantasy" Los Angeles Times 16 August, 1939, A18. ProQuest Historical Newspapers Los Angeles Times (1881 - 1986). ProQuest.

This is a review of the premier of The Wizard of Oz. It starts and ends with praise and has Schallert has no doubt it will have worldwide appeal. He claims even with all the “to do” of a premiere, the film exceeded his every expectation. He praises it as original and not what he has come to know as the formulaic Hollywood. He likes the use of the color because it adds meaning to the story. He thinks MGM’s choice of actors was superb. He likes the story and the films ability to have him “rooting for Dorothy”. He admires the technical feat and comments that it finally challenges Disney. He then continues to compliment everyone he thinks deserves praise in making such a great movie.

This is a review of the movie right when it came out and Schallert seemed to love it. I think its important to note that the majority of the review doesn’t spend time focusing on the technical genius of the film, which is something that could potentially be outdated. Additionally, it is important to note that much of the use of the “technology” was to the advantage of the story of the film. For example, the film was one of the first shot in color and used the Technicolor Process. This process tended to over exaggerate the colors on screen and made things seem almost unreal. This worked perfectly for the film because while Kansas was shot in black and white with a sepia tone, it was Oz that was shot in color. This “unrealistic color” lent itself to the idea that Oz was a fantasy land. Also the limited ability in special effects allowed for the melting of the witch to be lighter hearted and less gruesome. In essence, the story benefited from the limited technology of the time, rather than being hindered by it. Additionally, something briefly touched on in this article was that this story is one of the only fairy tales completely American in origin, which may not lend to its international popularity, but certainly can help give Americans a sense of pride when the watch it (which inevitably makes them like the film more)

Arthur Milliers View 'Oz' With Varied Reactions
THE TIMES ART CRITIC AND FAMILY
Los Angeles Times (1886-Current File); Aug 28, 1939; ProQuest Historical Newspapers Los Angeles Times (1881 - 1986)
pg. A14

This is a Los Angeles Times article written right when the movie was released in theaters. It is unique in movie reviews that it is a review by an entire family: David, Mojave, Joyce, Arthur Jr., Mom, and Dad. They each seemed to like a different aspect of the film. David enjoyed the Lion character the most. Mojave liked the Munchkins and felt like she was experiencing the story with Dorothy. Joyce thought it was good fairytale and liked the settings as well as Judy Garland. Arthur enjoyed watching a movie about his favorite film. Mom liked that there were no guns and little violence. Dad was impressed by all the makeup used.

This article is important because it emphasizes the wide appeal of the movie. It is one of those few movies that whole families can watch, and enjoy together. Although everyone was entertained by a different aspect or a different character, they all liked some aspect of the film. It displays its ability to combine so many different things to provide entertainment for everyone. Although reactions may be different today, the story remains the same. A father may no longer be impressed by the costumes since time has brought much more elaborate costumes to films, but perhaps he is still blown away by Judy Garland’s voice or maybe he has an appreciation of the technological achievement when put in its’ time period. In another article I have from 2002, we see that 7.9 million people watched the film, which is concrete evidence that the film is not becoming outdated anytime soon.

Fleming’s 1939 American film The Wizard of Oz is an early pioneer of the use of innovative techniques in camera work, music, visual and special effects in modern day movie production.  The musical-fantasy classic has also become a firm favorite among the American public and coupled with its influence in the film industry, it should be regarded as the most significant American film of all time.

Such is the popularity of Baum’s The Wizard of Oz that some critics have suggested that it and other forms of popular culture have replaced biblical teaching and mythology’s position in society’s collective imagination. So thorough is the permeation of the Oz fantasy that a mere mention of any of the popular quotes from the movie will instantly evoke the full comprehension and application of said quote to the context in question. So complete is our exposure to the fantasy that even the act of thinking about certain related issues is reduced to mere reflex. Hastings posits that while the Bible was once the “source of our verbal and visual shorthand” any reference to Biblical characters or quotations in today’s world had best be accompanied by a footnote. Can a fictitious girl and her dog really replace usurp religion’s role in the western world? The issue is definitely up for debate. One thing is for certain though, “Toto, we're not in Kansas any more."

Hastings, A. Waller. "Worshiping at the Altar of Oz ." The Lion and the Unicorn.
(21 Feb. 1997). Muse.jhu.edu, 1 Dec. 2008.

Fleming’s 1939 American film The Wizard of Oz is an early pioneer of the use of innovative techniques in camera work, music, visual and special effects in modern day movie production.  The musical-fantasy classic has also become a firm favorite among the American public and coupled with its influence in the film industry, it should be regarded as the most significant American film of all time.

In his article Kansas, Oz and the Function of Art , Conlon describes Fleming’s 1939 classic The Wizard of Oz as an expression of art using the film medium. He proposes the idea that the land of Oz is itself the artistic interpretation of the reality of Kansas. While art is generally mimetic, Oz is not just a mere reflection of Kansas. Nor is Oz a conflict-free version of the real world. This much is clear as Dorothy faces arguably more dire perils in Oz than in Kansas. It is true that the characters in Oz resemble their Kansas counterparts in physique and psyche, however the relationships that Dorothy forges with the Tin Man, Lion and Scarecrow are more indicative of her desire to be treated as an equal rather than the meddlesome child she is depicted as while on the farm. Oz also empowers Dorothy with the ability to evoke change in the status quo, in Kansas her opinion is often ignored or dismissed. The article is truly a unique interpretation of the film and shows that this beloved fantasy has a lot more substance than we might realize at first glance.

Conlon, James. "Kansas, Oz and the Function of Art." Journal of Aesthetic Education Vol. 24, No. 3 (Autumn, 1990), pp. 99-106. University of Illinois Press. JSTOR, 1 Dec. 2008.

Fleming’s 1939 American film The Wizard of Oz is an early pioneer of the use of innovative techniques in camera work, music, visual and special effects in modern day movie production.  The musical-fantasy classic has also become a firm favorite among the American public and coupled with its influence in the film industry, it should be regarded as the most significant American film of all time.

How do you produce a film that appeals to people of all ages, becomes more cherished as time passes, will forever influence the American lifestyle and continues to inspire the world? In 1939 MGM spent an estimated $2.5 million to finance the production of The Wizard of Oz. The company clearly spared no expense in incorporating the talents of the industry’s best actors, film crew, technical experts and the most advanced technology of the day (Technicolor). A similar project in today’s economy would cost about $50 million. While initial box office numbers might not have rewarded their adventurous (and somewhat risky) approach, time has proven the project to be a resounding success. “The Wizard of Oz has witnessed more than 20 years of revival on both television and in theaters, remaining widely popular. Internationally, the film has enjoyed wider distribution than any other American film in history—fantasy, musical or otherwise.” How do you produce a film to change the world? MGM might have a “vague idea.”

Winning, Robert. "The Wizard of Oz." Film Reference Website. 1 Dec. 2008 .

Published in a 1990 volume of The Journal of Political Economy, Hugh Rockoff asserts that Baum’s The Wonderful Wizard of Oz “is a cautionary tale, recounting “the first battle” of 1896 (the title of Bryan’s [1896] immensely popular account of that election) and warning of the dangers that lay ahead” (745). Thus Rockoff ties the events in The Wonderful Wizard of Oz to the major issue of the 1896 Presidential campaign – the economy. Whereas William McKinley and the Republican party advocated the gold standard, William Jennings Bryan represented the Democratic and Populist factions in fighting for bimetallism and free silver. Agreeing with Henry Littlefield’s assessment about Baum’s political leanings, Rockoff sees Baum’s fairytale as a Populist interpretation of the 1890’s, though less deliberate in intention (756). Aside from disagreeing about the degree to which Baum intended for his story to be viewed as a political commentary, Rockoff agrees with all of Littlefield’s interpretations about the story as a Populist allegory. Rockoff’s article attempts to build upon the ideas presented by Littlefield to introduce the notion of Baum’s story as a monetary allegory as well.

Rockoff’s interpretation of The Wonderful Wizard of Oz provides sound reasoning for his view of the book as supportive of bimetallism. His interpretation of the cyclone that brings Dorothy to Oz at the beginning of the story is an apt metaphor for the Free Silver movement since times were especially hard in the plains states like Kansas in the 1890’s (745). It isn’t surprising that impoverished people would be “swept up” in a movement promising to inject more currency into the system. That she happens to fall upon a land called “Oz” isn’t lost on Rockoff either. He notes, “This is Baum’s fantasy counterpart to America, a land in which, especially in the East, the gold standard reigns supreme and in which and ounce (Oz) of gold has almost mystical significance” (745). Rockoff then mentions that Dorothy and her companions follow the yellow brick road (a metaphor for the gold standard) to the Emerald City to find the way home to Kansas, but in the end, all she had to do was click her silver shoes together three times. Rockoff explains, “the power to solve her problems (by adding silver to the money stock) was there all the time” (756). Though Rockoff’s reasoning is sound, I feel this sequence of events in the story work to support my thesis about The Wonderful Wizard of Oz as well. Though I am focusing on the film version for my project, I will use the book in this instance to compare fairly. While I agree with Rockoff that the cyclone could represent the free silver movement, it’s purpose in the story is different for each of us. Rockoff believes that it is designed to transport Dorothy (a representation of America) to a land where gold reigns so that she might find a compromise (bimetallism), which Rockoff argues that she does by clicking her silver shoes to take her back to Kansas (745). I believe, however, that the cyclone’s purpose is to remind Dorothy, and by extension Americans looking to Populism, that the free silver movement may seem enticing, but it will sweep them up, leave them in an unknown land away from everything they know, so the best course of action is to remain on the marked trail (the yellow brick road or the gold standard which was already in use) and they will be assisted in their journey home. After all, without the guidance of the Good Witch (or perhaps government officials with more knowledge than ordinary Americans) Dorothy would have never been instructed to click her heels in the first place.

In a unique review of The Wizard of Oz published on August 28, 1939 in The Los Angeles Times, art critic Arthur Milliers includes his family of five (plus one guest) in his critique of Victor Fleming's The Wizard of Oz. Because the book, and by most accounts the film, was made for younger viewers, it is brilliant that a review of the film should seek imput from children. Milliers, however, "admits that the idea of doing a family review of "The Wizard of Oz" came to him as he was wondering how to wrangle six passes for his numerous brood" (A14). Nevertheless, the opinions of his young companions, as well as his wife, all offer interesting insight into the varied audience reception of the film. Understandably, the younger children were more convinced that Oz was a real place. According to Mojave's (a 13 year old) description of the film, "it was all so oddly real that I felt I was living the story with Dorothy" (qtd. in Milliers, A14). The 15 year olds took a somewhat disinterested view of the film, with Arthur Jr. noting that the film "is a pleasant change from our standardized movie of today, not being an involved picture requiring mental effort to follow" (qtd. in Milliers, A14). I found the Mother's perspective on the film to be the most interesting, as her husband notes that she felt the movie was like "what childhood dreams used to be made of before 'Gang Busters' and 'oomph' became household words" (qtd. in Milliers, A14). The Mother's statement indicates that, for her, viewing The Wizard of Oz brought her back to happier times and provided a means of escapism.

While Milliers family review of The Wizard of Oz may seem like nothing more than the opinions of a few children and adults strewn together, to me, each of their reviews of the film have meaning. Although some patterns exist among similar age groups, each of the six individuals mentioned above has a distinct opinion of the film. This is important because it demonstrates the vast expanse of opinions about The Wizard of Oz that has yet to be uncovered. While a plethora of academic research exists linking Baum's book, and to some extent, Fleming's film, to Populism and bimetallism, Milliers review reminds us that these are not the only working theories about The Wizard of Oz currently circulating.

Milliers, Arthur. "Arthur Milliers View 'Oz' With Varied Reactions." Los Angeles Times. 28 Aug. 1939: A14. ProQuest. U. of. Penn. Lib., Philadelphia. 1 Dec. 2008 <http://proquest.umi.com>.

In an article appearing in an issue of Public Relations Quarterly, Tim Ziaukas posits "Baum's parable is a potent piece of Gilded Age propaganda, a masterpiece of early public relations writing, and part of the progressive surge that would result in the formal emergence of public relations in the generation after Oz" (3). He later concludes that The Wizard of Oz's foray into the field of Public Relations was lost in the transition from the Gilded Age to the 20th century, but he spends very little time developing either of his arguments. Instead, Ziaukas offers readers a short-sighted summary of the debate between the gold standard and bimetallism, L. Frank Baum's life, and the plot of The Wonderful Wizard of Oz. Despite the article's shortcomings, it is notable because it is one of the few articles I found exploring The Wizard of Oz from a different discipline -- in this case, Public Relations.

That the notion of The Wizard of Oz as a Populist or monetary allegory has spread to disciplines as far removed as Public Relations indicates an intense fascination with the idea among both ordinary Americans and academics alike. I do not believe that this is a problem. However, when academics make claims with very little or no evidence to back them up, I feel it is time to move on. Such is the case of The Wizard of Oz as a Populist or monetary allegory. While a strong case can be made for a vareity of scenarios relating to The Wizard of Oz and the notion of the yellow brick road representing the gold standard, for example, there just isn't enough evidence to support any of these claims.

Ziaukas, Tim. "Baum's Wizard of Oz as Gilded Age Public Relations." Public Relations Quarterly 43.3 (Fall, 1998): 7-11. EBSCO MegaFile. U. of Penn. Lib., Philadelphia. 1 Dec. 2008 <http://web.ebscohost.com>.

Whereas Ranjit S. Dighe’s book was notable for presenting the reader with the arguments both for and against The Wizard of Oz as a political or monetary allegory, Bradley A. Hansen’s The Fable of the Allegory: The Wizard of Oz in Economics takes a more one-sided approach. Unlike most Oz scholars, Hansen believes that “Baum’s writings, as well as his life history, provide considerable evidence that he did not have Populist sympathies and did not intend the book to be anything more than a delightful story” (255). To support these claims, he cites the fact that there “have not been multiple independent discoveries of the allegorical interpretation,” as all relate back to Littlefield or those who cited Littlefield (256). Next, Hansen cites editorials from Baum’s newspaper in South Dakota which indicate that he was a Republican. Finally, Hansen provides alternate interpretations of aspects of the book that are often used for monetary or political allegory by contemporary scholars.

Having been presented with Hansen’s arguments as to why The Wizard of Oz cannot function as a feasible political or monetary allegory, I have become more aware of the effect that the research of others can have on your own. Just as virtually every Oz scholar has read Littlefield’s article or has read an article by someone else who has read Littlefield, certain ideas or theories become accepted into the mainstream of academia, even when the evidence should suggest otherwise. These ideas are then assumed to be correct and are often treated as fact and are thus rarely challenged. Hansen questioned the reigning allegorical interpretations of colors in the book and brought up the point that if colors are a cornerstone of the allegorical interpretation of The Wonderful Wizard of Oz, why are certain colors left unexplained? Until someone can provide a rational explanation as to why the Munchkins are blue, Glinda the Good Witch of the North is white, and the Wicked Witch of the West is green, it is difficult for me to assert that the yellow brick road is a symbol of the gold standard.

Hansen, Bradley A. "The Fable of the Allegory: The Wizard of Oz in Economics." The Journal of Economic Education 33.3 (Summer, 2002): 254-264. Heldref Publications. JSTOR. U. of Penn. Lib., Philadelphia. 1 Dec. 2008 <http://www.jstor.org>.

Any analysis of The Wizard of Oz as something other than a beautiful fairy tale for children must begin with a look at Henry M. Littlefield’s The Wizard of Oz: Parable on Populism. According to Ranjit S. Dighe, editor of The Historian’s Wizard of Oz, “Baum left behind no concrete evidence that he wrote the book as a political allegory, and, as far as we can tell, virtually nobody read it as one until more than sixty years later, when Henry Littlefield’s “The Wizard of Oz: Parable on Populism” was published in 1964” (x). Since then, a variety of additional allegories have been proposed, yet most still cite Littlefield’s work when tying Baum’s book to the Populist movement of the 1890’s. In his article, Littlefield’s overarching point is that in writing The Wonderful Wizard of Oz, Baum was injecting a positive commentary on the Populist movement. Littlefield cites the scene in which the Scarecrow, Tin Woodman, Lion, and Dorothy ask the Wizard for help in fulfilling their needs for a brain, a heart, courage, and a way home, respectively. Littlefield points out that “their desires, as well as the Wizard’s cleverness in answering them, are all self-delusion. Each of these characters carries within him the solution to his own problem, were he only to view himself objectively,” suggesting that the populists were a self-sufficient and capable group (57).

Littlefield’s thesis of Baum writing The Wonderful Wizard of Oz as a work supporting the power of the common man, or the Populist movement, hinges on information about Baum’s political inclinations. As a result of this, his thesis is somewhat invalidated. In relating Baum’s background to The Wonderful Wizard of Oz, Littlefield writes, “In Chicago Baum certainly saw the results of the frightful depression which had closed down upon the nation in 1893. Moreover, he took part in the pivotal election of 1896, marching in “torch-light parades for William Jennings Bryan””(49). Littlefield also quotes Martin Gardiner, noting that Baum “consistently voted as a democrat…and his sympathies seem always to have been on the side of the laboring classes” (qtd. in Littlefield, 49). While this information certainly supports Littlefield’s thesis, it was later disproved. According to Dighe, “Baum scholars have turned up virtually nothing in the way of confirmation that Baum was ever a Democrat or a Bryan supporter, while finding numerous bits of evidence that suggest he was a Republican or at least leaned Republican” (5). Though his theory about Baum’s political ideology is almost certainly false, Littlefield’s article is important to my thesis for that exact reason. By challenging the nature of Baum’s political leanings, one makes room for the idea of the yellow brick road as a symbol of the gold standard (a cornerstone of the Republican platform) as the path to prosperity.

Littlefield, Henry M. "The Wizard of Oz: Parable on Populism." American Quarterly 16.1 (Spring, 1964): 47-58. The Johns Hopkins University Press. JSTOR. U of Penn Lib., Philadelphia. 19 Nov. 2008 <http://www.jstor.org>.