Many of them have been raising their kids for years now. Want to request a film for a future issue? Subscribe to the paid version!Ī lot of my movie-watching friends are having kids these days.
#Return to oz movie
I thought he was gonna assign me a kaiju movie or an anime classic, but he surprised me with this pick, which I was pleased to revisit after nearly two decades. You can usually find him complaining about the current state of hip-hop and R&B over at Soul in Stereo (where I occasionally contribute a movie review!). Despite showing a good deal of promise, the film’s failure was such that Walter Murch has yet to reoccupy the director’s chair.Today’s issue of Dust On The VCR is another subscriber request! This film was chosen by Edward Bowser, a long lost coworker-turned-actual-friend of mine who is always “busy” because he works for the Mayor, but not too busy to be a committed pop culture hound.
There is too much of an intent seriousness to Fairuza Balk’s Dorothy to ever convince – there is nothing of the wide-eyed innocence that Judy Garland had in the original that so charmed an entire generation, although Balk did subsequently go on to carve out a modest niche as a teen and twentysomething actress in a number of indie films. Such fine performers as Nicol Williamson and Piper Laurie are cast with an almost criminal underuse of their talents. The mechanical companions lack the vibrant personalities that the costumed creations had in the original. Not a huge amount happens and it is virtually over by the time it has begun. There is a sparseness to the film (possibly due to sections of script being dumped as a result of budget cuts). Oz itself has been beautifully redesigned in gilt mirrors and elaborate wrought iron like something out of a Victorian World Expo.įor all that, Return to Oz disappoints somewhat. The effects teams do a fine job, with some especially good mechanical creations, while the Nome King has been brought to life by stop-motion animator Will Vinton using the Claymation process later popularised by Aardman Animation. (l to r) The Cowardly Lion, The Tin Man, Dorothy (Fairuza Balk), Jack Pumpkinhead, The Scarecrow and Tik TokĪided by a score that thunders in the basement like all the demons of Hell unleashed, Walter Murch keeps the film’s pace out on a wild histrionic edge for the greater part. (When the studio slashed the budget and Murch became snowed under and was at one point fired by Disney, his esteem was such that both Lucas and Coppola interceded with the studio to have Murch reinstated with Lucas offering to fly to England stand in if need be. Murch made his directorial debut with the film. Return to Oz was directed by Walter Murch, previously an Academy Award winning editor and sound effects editor on Francis Ford Coppola’s Godfather sequels and Apocalypse Now (1979) and who has also worked on other high profile films including American Graffiti (1973), The Unbearable Lightness of Being (1987), Ghost (1990) and The English Patient (1996), as well co-writing George Lucas’s first film THX 1138 (1971). As a result, Return to Oz was not a great success, although there have been a modest number of voices in subsequent years calling for its reevaluation. This is something that outraged the Moral Minorities when the film came out who did their thing about unsuitability for children etc etc. Indeed, it is a surprisingly darker film in tone and content. It abandons the stage musical tradition that Wizard was steeped in – nobody sings or dances the world of Oz is more three-dimensional and less stagebound and the non-humanoid characters are no longer actors in burlesque makeup but full-fledged mechanical and animatronic creations. Frank Baum books than The Wizard of Oz was). Return to Oz is certainly a very different film to The Wizard of Oz (although is actually much closer in tone to the original L. Disney were also behind the subsequent Sam Raimi directed prequel Oz: The Great and Powerful (2013).
Frank Baum Oz books since 1955, who were behind the sequel. Upon this occasion, it was Disney, who have surprisingly held the rights to all the L. It is something that only signifies the lasting power of the original film, which has become a genuine holiday season American classic. The gap of 46 years between this and The Wizard of Oz (1939) is a world record for the time elapsed between an original and before a sequel was made.
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